1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,ragged-right,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
83 \override Score.PaperColumn #'keep-inside-line = ##t
89 In this manual: @ref{Text markup}.
91 Program reference: @internalsref{TextScript}.
95 @subsection Text spanners
99 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
100 are written as text and are extended over many measures with dotted
101 lines. Such texts are created using text spanners; attach
102 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
103 notes of the spanner.
105 The string to be printed, as well as the style, is set through object
108 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
111 \override TextSpanner #'edge-text = #'("rall " . "")
112 c2\startTextSpan b c\stopTextSpan a
115 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
116 c2\startTextSpan b c\stopTextSpan a
121 @cindex textSpannerUp
122 @code{textSpannerUp},
123 @cindex textSpannerDown
124 @code{textSpannerDown},
125 @cindex textSpannerNeutral
126 @code{textSpannerNeutral}.
131 Program reference: @internalsref{TextSpanner}.
133 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
137 @subsection Text marks
139 @cindex coda on bar line
140 @cindex segno on bar line
141 @cindex fermata on bar line
142 @cindex bar lines, symbols on
145 The @code{\mark} command is primarily used for
146 @ref{Rehearsal marks},
147 but it can also be used to put signs like coda,
148 segno, and fermata on a bar line. Use @code{\markup} to
149 access the appropriate symbol
151 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
152 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
157 @code{\mark} is only typeset above the top stave of the score. If
158 you specify the @code{\mark} command at a bar line, the resulting
159 mark is placed above the bar line. If you specify it in the middle
160 of a bar, the resulting mark is positioned between notes. If it is
161 specified before the beginning of a score line, it is placed
162 before the first note of the line. Finally, if the mark occurs at
163 a line break, the mark will be printed at the
164 beginning of the next line.
165 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
166 @c delete this sentence. -gp
167 If there is no next line, then the mark will not be printed at all.
172 To print the mark at the end of the current line, use
175 \override Score.RehearsalMark
176 #'break-visibility = #begin-of-line-invisible
179 @code{\mark} is often useful for adding text to the end of bar. In
180 such cases, changing the @code{#'self-alignment} is very useful
182 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
183 \override Score.RehearsalMark
184 #'break-visibility = #begin-of-line-invisible
186 \once \override Score.RehearsalMark #'self-alignment-X = #right
187 \mark "D.S. al Fine "
193 Program reference: @internalsref{RehearsalMark}.
197 @subsection Text markup
204 Use @code{\markup} to typeset text. Commands are entered with the
205 backslash @code{\}. To enter @code{\} and @code{#}, use double
208 @lilypond[quote,verbatim,fragment,relative=1]
210 c1_\markup { hi there }
211 c1^\markup { hi \bold there, is \italic anyone home? }
212 c1_\markup { "\special #characters" }
216 See @ref{Overview of text markup commands} for a list of all
219 @code{\markup} is primarily used for @internalsref{TextScript}s,
220 but it can also be used anywhere text is called in lilypond
222 @lilypond[quote,verbatim]
223 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
226 \override Score.RehearsalMark
227 #'break-visibility = #begin-of-line-invisible
228 \override Score.RehearsalMark #'self-alignment-X = #right
230 \set Staff.instrument = \markup{ \column{ Alto solo } }
231 c2^\markup{ don't be \flat }
232 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
234 a2\mark \markup{ \large \bold Fine }
238 \addlyrics { bar, foo \markup{ \italic bar! } }
242 Text can also be placed on its own, away from any @code{\score}
243 block. This is primarily used in a @code{\book} (see
244 @ref{Multiple movements}).
246 @lilypond[quote,ragged-right,verbatim]
247 \markup{ Here is some text. }
250 @cindex font switching
252 The markup in the example demonstrates font switching commands. The
253 command @code{\bold} and @code{\italic} apply to the first following
254 word only; to apply a command to more than one word, enclose the
258 \markup @{ \bold @{ hi there @} @}
262 For clarity, you can also do this for single arguments, e.g.,
265 \markup @{ is \italic @{ anyone @} home @}
268 In markup mode you can compose expressions, similar to mathematical
269 expressions, XML documents, and music expressions. You can stack
270 expressions grouped vertically with the command @code{\column}.
271 Similarly, @code{\center-align} aligns texts by their center lines:
273 @lilypond[quote,verbatim,fragment,relative=1]
274 c1^\markup { \column { a bbbb \line { c d } } }
275 c1^\markup { \center-align { a bbbb c } }
276 c1^\markup { \line { a b c } }
279 Lists with no previous command are not kept distinct. The expression
282 \center-align @{ @{ a b @} @{ c d @} @}
290 \center-align @{ a b c d @}
295 To keep lists of words distinct, please use quotes @code{"} or
296 the @code{\line} command
298 @lilypond[quote,verbatim,fragment,relative=1]
300 c4^\markup{ \center-align { on three lines } }
301 c4^\markup{ \center-align { "all one line" } }
302 c4^\markup{ \center-align { { on three lines } } }
303 c4^\markup{ \center-align { \line { on one line } } }
306 Markups can be stored in variables and these variables
307 may be attached to notes, like
309 allegro = \markup @{ \bold \large @{ Allegro @} @}
310 @{ a^\allegro b c d @}
313 Some objects have alignment procedures of their own, which cancel out
314 any effects of alignments applied to their markup arguments as a
315 whole. For example, the @internalsref{RehearsalMark} is horizontally
316 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
319 In addition, vertical placement is performed after creating the
320 text markup object. If you wish to move an entire piece of markup,
321 you need to use the #'padding property or create an "anchor" point
322 inside the markup (generally with @code{\hspace #0}).
324 @lilypond[quote,verbatim,fragment,relative=1]
326 c'4^\markup{ \raise #5 "not raised" }
327 \once \override TextScript #'padding = #3
328 c'4^\markup{ raised }
329 c'4^\markup{ \hspace #0 \raise #1.5 raised }
335 This manual: @ref{Overview of text markup commands}.
337 Program reference: @internalsref{TextScript}.
339 Init files: @file{scm/@/new@/-markup@/.scm}.
344 Kerning or generation of ligatures is only done when the @TeX{}
345 backend is used. In this case, LilyPond does not account for them so
346 texts will be spaced slightly too wide.
348 Syntax errors for markup mode are confusing.
352 @subsection Text encoding
354 LilyPond uses the Pango library to format multi-lingual texts, and
355 does not perform any input-encoding conversions. This means that any
356 text, be it title, lyric text, or musical instruction containing
357 non-ASCII characters, must be utf-8. Easiest to enter such texts is
358 by using a Unicode-aware editor, and save using utf-8 encoding. Most
359 popular modern editors have utf-8 support, for example, vim, Emacs,
362 Depending on the fonts installed, the following fragment shows Hebrew
369 @lilypondfile[fontload]{utf-8.ly}
371 The @TeX{} backend does not handle encoding specially at all. Strings
372 in the input are put in the output as-is. Extents of text items in the
373 @TeX{} backend, are determined by reading a file created via the
374 @file{texstr} backend,
377 lilypond -b texstr input/les-nereides.ly
378 latex les-nereides.texstr
381 The last command produces @file{les-nereides.textmetrics}, which is
382 read when you execute
385 lilypond -b tex input/les-nereides.ly
388 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
389 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
390 interpreting non-ASCII strings.
392 To use a Unicode escape sequence, use
395 #(ly:export (ly:wide-char->utf-8 #x2014))
401 @inputfileref{input/regression,utf-8.ly}
405 @subsection Nested scores
407 It is possible to nest music inside markups, by adding a @code{\score}
408 block to a markup expression. Such a score must contain a @code{\layout}
411 @lilypond[quote,verbatim,ragged-right]
415 \relative { c4 d e f }
424 @node Overview of text markup commands
425 @subsection Overview of text markup commands
427 The following commands can all be used inside @code{\markup @{ @}}.
429 @include markup-commands.tely
433 @subsection Font selection
435 @cindex font selection
436 @cindex font magnification
437 @cindex @code{font-interface}
439 By setting the object properties described below, you can select a
440 font from the preconfigured font families. LilyPond has default
441 support for the feta music fonts. Text fonts are selected through
442 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
443 the sans and typewriter to whatever the Pango installation defaults
448 @item @code{font-encoding}
449 is a symbol that sets layout of the glyphs. This should only be set to
450 select different types of non-text fonts, eg.
452 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
453 standard music font, including ancient glyphs, @code{fetaDynamic} for
454 dynamic signs and @code{fetaNumber} for the number font.
456 @item @code{font-family}
457 is a symbol indicating the general class of the typeface. Supported are
458 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
460 @item @code{font-shape}
461 is a symbol indicating the shape of the font. There are typically
462 several font shapes available for each font family. Choices are
463 @code{italic}, @code{caps}, and @code{upright}.
465 @item @code{font-series}
466 is a symbol indicating the series of the font. There are typically
467 several font series for each font family and shape. Choices are
468 @code{medium} and @code{bold}.
472 Fonts selected in the way sketched above come from a predefined style
473 sheet. If you want to use a font from outside the style sheet,
475 @code{font-name} property,
477 @lilypond[fragment,verbatim]
479 \override Staff.TimeSignature #'font-name = #"Charter"
480 \override Staff.TimeSignature #'font-size = #2
483 \override #'(font-name . "Vera Bold")
484 { This text is in Vera Bold }
490 Any font can be used, as long as it is available to Pango/FontConfig.
492 The size of the font may be set with the @code{font-size}
493 property. The resulting size is taken relative to the
494 @code{text-font-size} as defined in the @code{\paper} block.
497 @cindex font magnification
500 It is also possible to change the default font family for the entire
501 document. This is done by calling the @code{make-pango-font-tree} from
502 within the @code{\paper} block. The function takes names for the font
503 families to use for roman, sans serif and monospaced text. For
506 @cindex font families, setting
515 (make-pango-font-tree "Times New Roman"
522 c'^\markup { roman: foo \sans bla \typewriter bar }
526 @c we don't do Helvetica / Courier, since GS incorrectly loads
533 Examples: @file{ly/@/font@/-family@/-override.ly}
536 @node New dynamic marks
537 @subsection New dynamic marks
539 It is possible to print new dynamic marks or text that should be aligned
540 with dynamics. Use @code{make-dynamic-script} to create these marks.
542 @cindex make-dynamic-script
544 @lilypond[quote,verbatim,ragged-right]
545 sfzp = #(make-dynamic-script "sfzp")
551 @cindex Dynamics, editorial
552 @cindex Dynamics, parenthesis
554 It is also possible to print dynamics in round parenthesis or square
555 brackets. These are often used for adding editorial dynamics.
557 @lilypond[quote,verbatim,ragged-right]
558 rndf = \markup{ \center-align {\line { \bold{\italic (}
559 \dynamic f \bold{\italic )} }} }
560 boxf = \markup{ \bracket { \dynamic f } }
561 { c'1_\rndf c'1_\boxf }
566 @node Preparing parts
567 @section Preparing parts
569 This section describes various notation that are useful for preparing
573 * Multi measure rests::
578 * Instrument transpositions::
580 * Different editions from one source::
584 @node Multi measure rests
585 @subsection Multi measure rests
587 @cindex multi measure rests
588 @cindex full measure rests
589 @cindex Rests, multi measure
590 @cindex Rests, full measure
591 @cindex whole rests for a full measure
594 Rests for one full measure (or many bars) are entered using `@code{R}'. It
595 is specifically meant for full bar rests and for entering parts: the rest
596 can expand to fill a score with rests, or it can be printed as a single
597 multi-measure rest. This expansion is controlled by the property
598 @code{Score.skipBars}. If this is set to true, empty measures will not
599 be expanded, and the appropriate number is added automatically
601 @lilypond[quote,ragged-right,fragment,verbatim]
602 \time 4/4 r1 | R1 | R1*2
603 \set Score.skipBars = ##t R1*17 R1*4
606 The @code{1} in @code{R1} is similar to the duration notation used for
607 notes. Hence, for time signatures other than 4/4, you must enter other
608 durations. This can be done with augmentation dots or fractions
610 @lilypond[quote,ragged-right,fragment,verbatim]
611 \set Score.skipBars = ##t
620 An @code{R} spanning a single measure is printed as either a whole rest
621 or a breve, centered in the measure regardless of the time signature.
623 If there are only a few measures of rest, LilyPond prints ``church rests''
624 (a series of rectangles) in the staff. To replace that with a simple
625 rest, use @code{MultiMeasureRest.expand-limit}.
627 @lilypond[quote,ragged-right,fragment,verbatim]
628 \set Score.skipBars = ##t
630 \override MultiMeasureRest #'expand-limit = 1
634 @cindex text on multi-measure rest
635 @cindex script on multi-measure rest
636 @cindex fermata on multi-measure rest
638 Texts can be added to multi-measure rests by using the
639 @var{note}-@code{markup} syntax @ref{Text markup}.
640 A variable (@code{\fermataMarkup}) is provided for
643 @lilypond[quote,ragged-right,verbatim,fragment]
644 \set Score.skipBars = ##t
646 R2.*10^\markup { \italic "ad lib." }
650 Warning! This text is created by @code{MultiMeasureRestText}, not
653 @lilypond[quote,ragged-right,verbatim,fragment]
654 \override TextScript #'padding = #5
656 \override MultiMeasureRestText #'padding = #5
660 If you want to have text on the left end of a multi-measure rest,
661 attach the text to a zero-length skip note, i.e.,
671 Program reference: @internalsref{MultiMeasureRestMusicGroup},
672 @internalsref{MultiMeasureRest}.
674 The layout object @internalsref{MultiMeasureRestNumber} is for the
675 default number, and @internalsref{MultiMeasureRestText} for user
681 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
682 over multi-measure rests. And the pitch of multi-measure rests (or
683 staff-centered rests) can not be influenced.
685 @cindex condensing rests
687 There is no way to automatically condense multiple rests into a single
688 multi-measure rest. Multi-measure rests do not take part in rest
691 Be careful when entering multi-measure rests followed by whole
692 notes. The following will enter two notes lasting four measures each
696 When @code{skipBars} is set, the result will look OK, but the bar
697 numbering will be off.
700 @node Metronome marks
701 @subsection Metronome marks
704 @cindex beats per minute
705 @cindex metronome marking
707 Metronome settings can be entered as follows
709 \tempo @var{duration} = @var{per-minute}
712 In the MIDI output, they are interpreted as a tempo change. In the
713 layout output, a metronome marking is printed
714 @cindex @code{\tempo}
715 @lilypond[quote,ragged-right,verbatim,fragment]
722 To change the tempo in the MIDI output without printing anything, make
723 the metronome marking invisible
725 \once \override Score.MetronomeMark #'transparent = ##t
728 To print other metronome markings, use these markup commands
729 @lilypond[quote,ragged-right,verbatim,relative,fragment]
732 \smaller \general-align #Y #DOWN \note #"16." #1
734 \smaller \general-align #Y #DOWN \note #"8" #1
739 See @ref{Text markup} for more details.
744 Program reference: @internalsref{MetronomeMark}.
749 Collisions are not checked. If you have notes above the top line of
750 the staff (or notes with articulations, slurs, text, etc), then the
751 metronome marking may be printed on top of musical symbols. If this
752 occurs, increase the padding of the metronome mark to place it
753 further away from the staff.
756 \override Score.MetronomeMark #'padding = #2.5
760 @node Rehearsal marks
761 @subsection Rehearsal marks
763 @cindex Rehearsal marks
766 To print a rehearsal mark, use the @code{\mark} command
768 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
777 The letter@tie{}`I' is skipped in accordance with engraving traditions.
778 If you wish to include the letter `I', then use
781 \set Score.markFormatter = #format-mark-alphabet
784 The mark is incremented automatically if you use @code{\mark
785 \default}, but you can also use an integer argument to set the mark
786 manually. The value to use is stored in the property
787 @code{rehearsalMark}.
789 The style is defined by the property @code{markFormatter}. It is a
790 function taking the current mark (an integer) and the current context
791 as argument. It should return a markup object. In the following
792 example, @code{markFormatter} is set to a canned procedure. After a
793 few measures, it is set to function that produces a boxed number.
795 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
796 \set Score.markFormatter = #format-mark-numbers
799 \set Score.markFormatter = #format-mark-box-numbers
805 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
806 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
807 @code{format-mark-letters} and @code{format-mark-box-letters}.
808 These can be used as inspiration for other formatting functions.
810 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
811 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
812 incremented numbers or letters.
817 Program reference: @internalsref{RehearsalMark}.
819 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
820 definition of @code{format-mark-numbers} and
821 @code{format-mark-letters}. They can be used as inspiration for other
822 formatting functions.
824 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
826 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
830 @subsection Bar numbers
833 @cindex measure numbers
834 @cindex @code{currentBarNumber}
836 Bar numbers are printed by default at the start of the line. The
837 number itself is stored in the @code{currentBarNumber} property, which
838 is normally updated automatically for every measure.
840 Bar numbers can be typeset at regular intervals instead of at the
841 beginning of each line. This is illustrated in the following example,
842 whose source is available as
843 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
845 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
847 Bar numbers can be typeset manually by tweaking the
848 @code{markFormatter} property
850 @lilypond[verbatim,ragged-right,quote]
852 \set Score.markFormatter
853 = #(lambda (mark context)
856 (number->string (ly:context-property context
857 'currentBarNumber)))))
859 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
863 Bar numbers can be manually changed by setting the
864 @code{Staff.currentBarNumber} property
866 @lilypond[verbatim,ragged-right,quote]
868 \repeat unfold 4 {c4 c c c} \break
869 \set Score.currentBarNumber = #50
870 \repeat unfold 4 {c4 c c c}
877 Program reference: @internalsref{BarNumber}.
880 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
881 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
886 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
887 there is one at the top. To solve this, the
888 @code{padding} property of @internalsref{BarNumber} can be
889 used to position the number correctly.
892 @node Instrument names
893 @subsection Instrument names
895 In an orchestral score, instrument names are printed at the left side
898 This can be achieved by setting @internalsref{Staff}.@code{instrument}
899 and @internalsref{Staff}.@code{instr}. This will print a string before
900 the start of the staff. For the first staff, @code{instrument} is
901 used, for the following ones, @code{instr} is used.
903 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
904 \set Staff.instrument = "Ploink "
905 \set Staff.instr = "Plk "
911 You can also use markup texts to construct more complicated instrument
914 @lilypond[quote,fragment,verbatim,ragged-right]
915 \set Staff.instrument = \markup {
916 \column { "Clarinetti"
917 \line { "in B" \smaller \flat } } }
921 If you wish to center the instrument names, you must center all of them
923 @lilypond[quote,verbatim,ragged-right]
926 \set Staff.instrument = \markup {
927 \center-align { "Clarinetti"
928 \line { "in B" \smaller \flat } } }
932 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
939 For longer instrument names, it may be useful to increase the
940 @code{indent} setting in the @code{\layout} block.
944 Program reference: @internalsref{InstrumentName}.
948 When you put a name on a grand staff or piano staff, the width of the
949 brace is not taken into account. The following property setting can be
950 used to move the instrument names to the left, in such situations.
953 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
957 @node Instrument transpositions
958 @subsection Instrument transpositions
960 @cindex transposition, MIDI
961 @cindex transposition, instrument
963 The key of a transposing instrument can also be specified. This
964 applies to many wind instruments, for example, clarinets (B-flat, A, and
965 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
967 The transposition is entered after the keyword @code{\transposition}
970 \transposition bes %% B-flat clarinet
974 This command sets the property @code{instrumentTransposition}. The value of
975 this property is used for MIDI output and quotations. It does not
976 affect how notes are printed in the current staff. To change the printed
977 output, see @ref{Transpose}.
979 The pitch to use for @code{\transposition} should correspond to the
980 real sound heard when a @code{c'} written on the staff is played by the
981 transposing instrument. For example, when entering a score in
982 concert pitch, typically all voices are entered in C, so
983 they should be entered as
996 The command @code{\transposition} should be used when the music is
997 entered from a (transposed) orchestral part. For example, in
998 classical horn parts, the tuning of the instrument is often changed
999 during a piece. When copying the notes from the part, use
1000 @code{\transposition}, e.g.,
1012 @node Ottava brackets
1013 @subsection Ottava brackets
1015 `Ottava' brackets introduce an extra transposition of an octave for
1016 the staff. They are created by invoking the function
1017 @code{set-octavation}
1023 @lilypond[quote,ragged-right,verbatim,fragment]
1033 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1034 (for 15ma) as arguments. Internally the function sets the properties
1035 @code{ottavation} (e.g., to @code{"8va"}) and
1036 @code{centralCPosition}. For overriding the text of the bracket, set
1037 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1039 @lilypond[quote,ragged-right,verbatim]
1042 \set Staff.ottavation = #"8"
1050 Program reference: @internalsref{OttavaBracket}.
1052 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1053 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1058 @code{set-octavation} will get confused when clef changes happen
1059 during an octavation bracket.
1062 @node Different editions from one source
1063 @subsection Different editions from one source
1068 The @code{\tag} command marks music expressions with a name. These
1069 tagged expressions can be filtered out later. With this mechanism it
1070 is possible to make different versions of the same music source.
1072 In the following example, we see two versions of a piece of music, one
1073 for the full score, and one with cue notes for the instrumental part
1089 The same can be applied to articulations, texts, etc.: they are
1092 -\tag #@var{your-tag}
1094 to an articulation, for example,
1099 This defines a note with a conditional fingering indication.
1102 @cindex removeWithTag
1103 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1104 commands, tagged expressions can be filtered. For example,
1108 \keepWithTag #'score @var{the music}
1109 \keepWithTag #'part @var{the music}
1114 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1116 The argument of the @code{\tag} command should be a symbol. It's
1117 possible to put multiple tags on a piece of music, with multiple
1118 @code{\tag} entries,
1120 \tag #'original-part \tag #'transposed-part @dots{}
1126 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1131 Multiple rests are not merged if you create the score with both tagged
1136 @node Orchestral music
1137 @section Orchestral music
1139 Orchestral music involves some special notation, both in the full
1140 score and the individual parts. This section explains how to tackle
1141 some common problems in orchestral music.
1144 * Automatic part combining::
1146 * Quoting other voices::
1147 * Formatting cue notes::
1148 * Aligning to cadenzas::
1152 @node Automatic part combining
1153 @subsection Automatic part combining
1154 @cindex automatic part combining
1155 @cindex part combiner
1157 Automatic part combining is used to merge two parts of music onto a
1158 staff. It is aimed at typesetting orchestral scores. When the two
1159 parts are identical for a period of time, only one is shown. In
1160 places where the two parts differ, they are typeset as separate
1161 voices, and stem directions are set automatically. Also, solo and
1162 @emph{a due} parts are identified and can be marked.
1164 The syntax for part combining is
1167 \partcombine @var{musicexpr1} @var{musicexpr2}
1171 The following example demonstrates the basic functionality of the part
1172 combiner: putting parts on one staff, and setting stem directions and
1175 @lilypond[quote,verbatim,ragged-right,fragment]
1176 \new Staff \partcombine
1177 \relative g' { g g a( b) c c r r }
1178 \relative g' { g g r4 r e e g g }
1181 The first @code{g} appears only once, although it was
1182 specified twice (once in each part). Stem, slur, and tie directions are
1183 set automatically, depending whether there is a solo or unisono. The
1184 first part (with context called @code{one}) always gets up stems, and
1185 `Solo', while the second (called @code{two}) always gets down stems and
1188 If you just want the merging parts, and not the textual markings, you
1189 may set the property @code{printPartCombineTexts} to false
1191 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1193 \set Staff.printPartCombineTexts = ##f
1195 \relative g' { g a( b) r }
1196 \relative g' { g r4 r f }
1200 To change the text that is printed for solos or merging, you may
1201 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1204 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1206 \set Score.soloText = #"ichi"
1207 \set Score.soloIIText = #"ni"
1208 \set Score.aDueText = #"tachi"
1210 \relative g' { g4 g a( b) r }
1211 \relative g' { g4 g r r f }
1215 Both arguments to @code{\partcombine} will be interpreted as
1216 @internalsref{Voice} contexts. If using relative octaves,
1217 @code{\relative} should be specified for both music expressions, i.e.,
1221 \relative @dots{} @var{musicexpr1}
1222 \relative @dots{} @var{musicexpr2}
1226 A @code{\relative} section that is outside of @code{\partcombine} has
1227 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1231 Program reference: @internalsref{PartCombineMusic}.
1235 When @code{printPartCombineTexts} is set, when the two voices play the
1236 same notes on and off, the part combiner may typeset @code{a2} more
1237 than once in a measure.
1239 @code{\partcombine} cannot be inside @code{\times}.
1241 @code{\partcombine} cannot be inside @code{\relative}.
1243 Internally, the @code{\partcombine} interprets both arguments as
1244 @code{Voice}s named @code{one} and @code{two}, and then decides when
1245 the parts can be combined. Consequently, if the arguments switch to
1246 differently named @internalsref{Voice} contexts, the events in those
1251 @subsection Hiding staves
1253 @cindex Frenched scores
1254 @cindex Hiding staves
1256 In orchestral scores, staff lines that only have rests are usually
1257 removed; this saves some space. This style is called `French Score'.
1258 For @internalsref{Lyrics},
1259 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1260 switched on by default. When the lines of these contexts turn out
1261 empty after the line-breaking process, they are removed.
1263 For normal staves, a specialized @internalsref{Staff} context is
1264 available, which does the same: staves containing nothing (or only
1265 multi-measure rests) are removed. The context definition is stored in
1266 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1267 in this example disappears in the second line
1269 @lilypond[quote,ragged-right,verbatim]
1271 \context { \RemoveEmptyStaffContext }
1276 \new Staff { e4 f g a \break c1 }
1277 \new Staff { c4 d e f \break R1 }
1282 The first system shows all staves in full. If empty staves should be
1283 removed from the first system too, set @code{remove-first} to true in
1284 @internalsref{VerticalAxisGroup}.
1287 \override Score.VerticalAxisGroup #'remove-first = ##t
1290 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1291 or @code{\RemoveEmptyRhythmicStaffContext}.
1293 Another application is making ossia sections, i.e., alternative
1294 melodies on a separate piece of staff, with help of a Frenched
1295 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1298 @node Quoting other voices
1299 @subsection Quoting other voices
1301 With quotations, fragments of other parts can be inserted into a part
1302 directly. Before a part can be quoted, it must be marked especially as
1303 quotable. This is done with the @code{\addquote} command.
1306 \addquote @var{name} @var{music}
1311 Here, @var{name} is an identifying string. The @var{music} is any kind
1312 of music. Here is an example of @code{\addquote}
1315 \addquote clarinet \relative c' @{
1320 This command must be entered at toplevel, i.e., outside any music
1323 After calling @code{\addquote}, the quotation may then be done with
1324 @code{\quoteDuring} or @code{\cueDuring},
1327 \quoteDuring #@var{name} @var{music}
1330 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1334 \quoteDuring #"clarinet" @{ s2. @}
1337 This would cite three quarter notes (the duration of @code{s2.}) of
1338 the previously added @code{clarinet} voice.
1341 More precisely, it takes the current time-step of the part being
1342 printed, and extracts the notes at the corresponding point of the
1343 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1344 should be the entire part of the voice to be quoted, including any
1345 rests at the beginning.
1347 Quotations take into account the transposition of both source and target
1348 instruments, if they are specified using the @code{\transposition} command.
1350 @lilypond[quote,ragged-right,verbatim]
1351 \addquote clarinet \relative c' {
1357 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1361 The type of events that are present in cue notes can be trimmed with
1362 the @code{quotedEventTypes} property. The default value is
1363 @code{(note-event rest-event)}, which means that only notes and
1364 rests of the cued voice end up in the @code{\quoteDuring}.
1368 \set Staff.quotedEventTypes =
1369 #'(note-event articulation-event dynamic-event)
1373 will quote notes (but no rests), together with scripts and dynamics.
1377 Only the contents of the first @internalsref{Voice} occurring in an
1378 @code{\addquote} command will be considered for quotation, so
1379 @var{music} can not contain @code{\new} and @code{\context Voice}
1380 statements that would switch to a different Voice.
1382 Quoting grace notes is broken and can even cause LilyPond to crash.
1386 In this manual: @ref{Instrument transpositions}.
1388 Examples: @inputfileref{input/@/regression,quote@/.ly}
1389 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1391 Program reference: @internalsref{QuoteMusic}.
1394 @node Formatting cue notes
1395 @subsection Formatting cue notes
1397 The previous section deals with inserting notes from another voice.
1398 There is a more advanced music function called @code{\cueDuring},
1399 which makes formatting cue notes easier.
1404 \cueDuring #@var{name} #@var{updown} @var{music}
1407 This will insert notes from the part @var{name} into a
1408 @internalsref{Voice} called @code{cue}. This happens simultaneously
1409 with @var{music}, which usually is a rest. When the cue notes start,
1410 the staff in effect becomes polyphonic for a moment. The argument
1411 @var{updown} determines whether the cue notes should be notated as a
1412 first or second voice.
1415 @lilypond[verbatim,ragged-right]
1418 \override Stem #'length-fraction = #0.8
1419 \override Beam #'thickness = #0.384
1420 \override Beam #'length-fraction = #0.8
1423 \addquote clarinet \relative {
1428 \new Staff \relative <<
1430 % setup a context for cue notes.
1431 \new Voice = "cue" { \smaller \skip 1*21 }
1433 \set Score.skipBars = ##t
1437 \cueDuring #"clarinet" #1 {
1446 Here are a couple of hints for successful cue notes
1450 Cue notes have smaller font sizes.
1452 the cued part is marked with the instrument playing the cue.
1454 when the original part takes over again, this should be marked with
1455 the name of the original instrument.
1457 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1459 @c Yes, this is good practice. Otherwise, the start of the original
1460 @c part can only be seen from the font size. This is not good enough
1461 @c for sight-reading. It is possilbe to use other
1462 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1467 Any other changes introduced by the cued part should also be
1468 undone. For example, if the cued instrument plays in a different clef,
1469 the original clef should be stated once again.
1474 @node Aligning to cadenzas
1475 @subsection Aligning to cadenzas
1477 In an orchestral context, cadenzas present a special problem:
1478 when constructing a score that includes a cadenza, all other
1479 instruments should skip just as many notes as the length of the
1480 cadenza, otherwise they will start too soon or too late.
1482 A solution to this problem are the functions @code{mmrest-of-length}
1483 and @code{skip-of-length}. These Scheme functions take a piece of music
1484 as argument, and generate a @code{\skip} or multi-rest, exactly as
1485 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1486 in the following example.
1488 @lilypond[verbatim,ragged-right,quote]
1489 cadenza = \relative c' {
1490 c4 d8 << { e f g } \\ { d4. } >>
1495 \new Staff { \cadenza c'4 }
1497 #(ly:export (mmrest-of-length cadenza))
1506 @node Contemporary notation
1507 @section Contemporary notation
1509 In the 20th century, composers have greatly expanded the musical
1510 vocabulary. With this expansion, many innovations in musical notation
1511 have been tried. The book ``Music Notation in the 20th century'' by
1512 Kurt Stone gives a comprehensive overview (see @ref{Literature
1513 list}). In general, the use of new, innovative notation makes a piece
1514 harder to understand and perform and its use should therefore be
1515 avoided. For this reason, support for contemporary notation in
1516 LilyPond is limited.
1520 * Polymetric notation::
1521 * Time administration::
1523 * Special fermatas::
1524 * Special noteheads::
1531 @node Polymetric notation
1532 @subsection Polymetric notation
1534 Double time signatures are not supported explicitly, but they can be
1535 faked. In the next example, the markup for the time signature is
1536 created with a markup text. This markup text is inserted in the
1537 @internalsref{TimeSignature} grob.
1539 @lilypond[verbatim,ragged-right]
1544 \musicglyph #"scripts.stopped"
1545 \bracket \column { "5" "8" }
1550 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1551 \override Staff.TimeSignature #'text = #tsMarkup
1553 c'2 \bar ":" c'4 c'4.
1557 Each staff can also have its own time signature. This is done by
1558 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1564 \remove "Timing_translator"
1565 \remove "Default_bar_line_engraver"
1569 \consists "Timing_translator"
1570 \consists "Default_bar_line_engraver"
1577 Now, each staff has its own time signature.
1590 c4. c8 c c c4. c8 c c
1595 @lilypond[quote,ragged-right]
1599 \remove "Timing_translator"
1600 \remove "Default_bar_line_engraver"
1603 \consists "Timing_translator"
1604 \consists "Default_bar_line_engraver"
1619 c4. c8 c c c4. c8 c c
1625 A different form of polymetric notation is where note lengths have
1626 different values across staves.
1628 This notation can be created by setting a common time signature for
1629 each staff but replacing it manually using
1630 @code{timeSignatureFraction} to the desired fraction. Then the printed
1631 durations in each staff are scaled to the common time signature.
1632 The latter is done with @code{\compressMusic}, which is used similar
1633 to @code{\times}, but does not create a tuplet bracket. The syntax is
1635 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1640 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1641 used in parallel. In the second staff, shown durations are multiplied by
1642 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1643 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1645 @lilypond[quote,ragged-right,verbatim,fragment]
1653 \set Staff.timeSignatureFraction = #'(9 . 8)
1654 \compressMusic #'(2 . 3)
1655 \repeat unfold 6 { c8[ c c] }
1659 \set Staff.timeSignatureFraction = #'(10 . 8)
1660 \compressMusic #'(3 . 5) {
1661 \repeat unfold 2 { c8[ c c] }
1662 \repeat unfold 2 { c8[ c] }
1663 | c4. c4. \times 2/3 { c8 c c } c4
1674 When using different time signatures in parallel, the spacing is
1675 aligned vertically, but bar lines distort the regular spacing.
1678 @node Time administration
1679 @subsection Time administration
1681 @cindex Time administration
1683 Time is administered by the @internalsref{Time_signature_engraver},
1684 which usually lives in the @internalsref{Score} context. The
1685 bookkeeping deals with the following variables
1688 @item currentBarNumber
1692 The length of the measures in the current time signature. For a 4/4
1693 time this is@tie{}1, and for 6/8 it is 3/4.
1695 @item measurePosition
1696 The point within the measure where we currently are. This quantity
1697 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1698 happens, @code{currentBarNumber} is incremented.
1701 If set to true, the above variables are updated for every time
1702 step. When set to false, the engraver stays in the current measure
1706 Timing can be changed by setting any of these variables explicitly.
1707 In the next example, the 4/4 time signature is printed, but
1708 @code{measureLength} is set to 5/4. After a while, the measure is
1709 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1710 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1711 3/8 arises because 5/4 normally has 10/8, but we have manually
1712 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1714 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1715 \set Score.measureLength = #(ly:make-moment 5 4)
1719 \set Score.measurePosition = #(ly:make-moment 7 8)
1727 @subsection Clusters
1731 A cluster indicates a continuous range of pitches to be played. They
1732 can be denoted as the envelope of a set of notes. They are entered by
1733 applying the function @code{makeClusters} to a sequence of
1735 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1736 \makeClusters { <c e > <b f'> }
1739 The following example (from
1740 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1743 @lilypondfile[ragged-right,quote]{cluster.ly}
1745 Ordinary notes and clusters can be put together in the same staff,
1746 even simultaneously. In such a case no attempt is made to
1747 automatically avoid collisions between ordinary notes and clusters.
1751 Program reference: @internalsref{ClusterSpanner},
1752 @internalsref{ClusterSpannerBeacon},
1753 @internalsref{Cluster_spanner_engraver}.
1755 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1759 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1760 accurately. Use @code{<g a>8 <e a>8} instead.
1764 @node Special fermatas
1765 @subsection Special fermatas
1767 @cindex fermatas, special
1769 In contemporary music notation, special fermata symbols denote breaks
1770 of differing lengths. The following fermatas are supported
1772 @lilypond[quote,ragged-right]
1795 \new Lyrics \lyricmode {
1796 \override LyricText #'font-family = #'typewriter
1797 "shortfermata" "fermata" "longfermata" "verylongfermata"
1802 See @ref{Articulations} for general instructions how to apply scripts
1803 such as fermatas to notes.
1806 @node Special noteheads
1807 @subsection Special noteheads
1809 Different noteheads are used by various instruments for various
1810 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1811 notes on guitar; diamonds are used for harmonics on string instruments,
1812 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1813 other notehead styles are produced by tweaking the property
1815 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1817 \override NoteHead #'style = #'cross
1819 \revert NoteHead #'style
1820 e d <c f\harmonic> <d a'\harmonic>
1824 To see all notehead styles, please see
1825 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1830 Program reference: @internalsref{NoteHead}.
1832 @node Pitched trills
1833 @subsection Pitched trills
1835 Trills that should be executed on an explicitly specified pitch can be
1836 typeset with the command @code{pitchedTrill},
1838 @lilypond[ragged-right,verbatim,fragment]
1839 \pitchedTrill c'4\startTrillSpan fis
1843 The first argument is the main note. The absolute pitch of the second
1844 is printed as a stemless note head in parentheses.
1846 @node Feathered beams
1847 @subsection Feathered beams
1849 Feathered beams are not supported natively, but they can be faked by
1850 forcing two beams to overlap. Here is an example,
1852 @c don't change relative setting witout changing positions!
1853 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1858 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1863 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1871 @subsection Improvisation
1873 Improvisation is sometimes denoted with slashed note heads. Such note
1874 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1875 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1879 \set squashedPosition = #0
1880 \override NoteHead #'style = #'slash
1884 switches on the slashes.
1886 There are shortcuts @code{\improvisationOn} (and an accompanying
1887 @code{\improvisationOff}) for this command sequence. They are used in
1888 the following example
1890 @lilypond[verbatim,ragged-right,quote]
1892 \consists Pitch_squash_engraver
1894 e8 e g a a16(bes)(a8) g \improvisationOn
1897 ~fis2 \improvisationOff a16(bes) a8 g e
1902 @node Educational use
1903 @section Educational use
1905 With the amount of control that LilyPond offers, one can make great
1906 teaching tools in addition to great musical scores.
1910 * Blank music sheet::
1912 * Shape note heads ::
1913 * Easy Notation note heads::
1914 * Analysis brackets::
1915 * Coloring objects::
1919 @subsection Balloon help
1921 Elements of notation can be marked and named with the help of a square
1922 balloon. The primary purpose of this feature is to explain notation.
1924 The following example demonstrates its use.
1926 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1929 #(add-balloon-text 'NoteHead "heads, or tails?"
1936 The function @code{add-balloon-text} takes the name of a grob, the
1937 label to print, and the position where to put the label relative to
1938 the object. In the above example, the text ``heads or tails?'' ends
1939 3 spaces below and 1 space to the right of the marked head.
1942 @cindex notation, explaining
1946 Program reference: @internalsref{text-balloon-interface}.
1948 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1953 @node Blank music sheet
1954 @subsection Blank music sheet
1956 A blank music sheet can be produced also by using invisible notes, and
1957 removing @code{Bar_number_engraver}.
1960 @lilypond[quote,verbatim]
1962 \repeat unfold 2 % Change this for more lines.
1967 \override TimeSignature #'transparent = ##t
1968 defaultBarType = #""
1969 \remove Bar_number_engraver
1971 \new Staff \emptymusic
1972 \new TabStaff \emptymusic
1978 @subsection Hidden notes
1980 @cindex Hidden notes
1981 @cindex Invisible notes
1982 @cindex Transparent notes
1984 @cindex @code{\hideNotes}
1985 @cindex @code{\unHideNotes}
1986 Hidden (or invisible or transparent) notes can be useful in preparing theory
1987 or composition exercises.
1989 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1997 Hidden notes are also great for performing weird tricks. For example,
1998 slurs cannot be attached to rests or spacer rests, but you may wish
1999 to include that in your score -- string instruments use this notation
2000 when doing pizzicato to indicate that the note should ring for as long
2003 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
2006 c4^"pizz"( \hideNotes c)
2007 \unHideNotes c( \hideNotes c)
2014 @node Shape note heads
2015 @subsection Shape note heads
2017 In shape note head notation, the shape of the note head corresponds
2018 to the harmonic function of a note in the scale. This notation was
2019 popular in the 19th century American song books.
2021 Shape note heads can be produced by setting @code{\aikenHeads} or
2022 @code{\sacredHarpHeads}, depending on the style desired.
2024 @lilypond[verbatim,relative=1,fragment]
2031 Shapes are determined on the step in the scale, where the base of the
2032 scale is determined by the @code{\key} command
2035 @findex shapeNoteStyles
2037 @findex \sacredHarpHeads
2039 Shape note heads are implemented through the @code{shapeNoteStyles}
2040 property. Its value is a vector of symbols. The k-th element indicates
2041 the style to use for the k-th step of the scale. Arbitrary
2042 combinations are possible, eg.,
2045 @lilypond[verbatim,relative=1,fragment]
2046 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2051 @node Easy Notation note heads
2052 @subsection Easy Notation note heads
2054 @cindex easy notation
2057 The `easy play' note head includes a note name inside the head. It is
2058 used in music for beginners
2060 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2065 The command @code{\setEasyHeads} overrides settings for the
2066 @internalsref{NoteHead} object. To make the letters readable, it has
2067 to be printed in a large font size. To print with a larger font, see
2068 @ref{Setting global staff size}.
2072 @cindex @code{\setEasyHeads}
2073 @code{\setEasyHeads}
2076 @node Analysis brackets
2077 @subsection Analysis brackets
2079 @cindex phrasing brackets
2080 @cindex musicological analysis
2081 @cindex note grouping bracket
2083 Brackets are used in musical analysis to indicate structure in musical
2084 pieces. LilyPond supports a simple form of nested horizontal
2085 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2086 to @internalsref{Staff} context. A bracket is started with
2087 @code{\startGroup} and closed with @code{\stopGroup}
2089 @lilypond[quote,ragged-right,verbatim]
2092 c4\startGroup\startGroup
2095 c4\stopGroup\stopGroup
2099 \Staff \consists "Horizontal_bracket_engraver"
2105 Program reference: @internalsref{HorizontalBracket}.
2107 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2110 @node Coloring objects
2111 @subsection Coloring objects
2113 Individual objects may be assigned colors. You may use the
2114 color names listed in the @ref{List of colors}.
2116 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2117 \override NoteHead #'color = #red
2119 \override NoteHead #'color = #(x11-color 'LimeGreen)
2121 \override Stem #'color = #blue
2125 The full range of colors defined for X11 can be accessed by using the
2126 scheme function x11-color. The function takes one argument that can be a
2130 \override Beam #'color = #(x11-color 'MediumTurquoise)
2136 \override Beam #'color = #(x11-color "MediumTurquoise")
2139 The first form is quicker to write and is more efficient. However, using
2140 the second form it is possible to access X11 colors by the multi-word
2144 \override Beam #'color = #(x11-color "medium turquoise")
2147 If x11-color cannot make sense of the parameter then the color returned
2148 defaults to black. It should be obvious from the final score that
2151 This example, illustrates the use of x11-color. Notice that the stem
2152 color remains black after being set to (x11-color 'Boggle), which is
2153 deliberate nonsense.
2155 @lilypond[quote,ragged-right,verbatim]
2157 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2158 \set Staff.instrument = \markup {
2159 \with-color #(x11-color 'navy) "Clarinet"
2163 \override Beam #'color = #(x11-color "medium turquoise")
2165 \override NoteHead #'color = #(x11-color "LimeGreen")
2167 \override Stem #'color = #(x11-color 'Boggle)
2175 Appendix: @ref{List of colors}.
2179 Not all x11 colors are distinguishable in a web browser. For web use
2180 normal colors are recommended.
2182 An x11 color is not necessarily exactly the same shade as a similarly
2186 @node Automatic notation
2187 @section Automatic notation
2189 This section describes how to change the way that accidentals and
2190 beams are automatically displayed.
2192 FIXME: this might get moved into Changing Defaults. Please send
2193 opinions to lilypond-devel. Thanks! :)
2196 * Automatic accidentals::
2197 * Setting automatic beam behavior::
2200 @node Automatic accidentals
2201 @subsection Automatic accidentals
2202 @cindex Automatic accidentals
2204 Common rules for typesetting accidentals have been placed in a
2205 function. This function is called as follows
2207 @cindex @code{set-accidental-style}
2209 #(set-accidental-style 'STYLE #('CONTEXT#))
2212 The function can take two arguments: the name of the accidental style,
2213 and an optional argument that denotes the context that should be
2214 changed. If no context name is supplied, @code{Staff} is the default,
2215 but you may wish to apply the accidental style to a single @code{Voice}
2218 The following accidental styles are supported
2221 This is the default typesetting behavior. It corresponds
2222 to 18th century common practice: Accidentals are
2223 remembered to the end of the measure in which they occur and
2224 only on their own octave.
2227 The normal behavior is to remember the accidentals on
2228 Staff-level. This variable, however, typesets accidentals
2229 individually for each voice. Apart from that, the rule is similar to
2232 As a result, accidentals from one voice do not get canceled in other
2233 voices, which is often an unwanted result
2235 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2237 #(set-accidental-style 'voice)
2244 The @code{voice} option should be used if the voices
2245 are to be read solely by individual musicians. If the staff is to be
2246 used by one musician (e.g., a conductor) then
2247 @code{modern} or @code{modern-cautionary}
2248 should be used instead.
2251 @cindex @code{modern} style accidentals
2252 This rule corresponds to the common practice in the 20th century. This rule
2253 prints the same accidentals as @code{default}, but temporary
2254 accidentals also are canceled in other octaves. Furthermore,
2255 in the same octave, they also get canceled in the following
2258 @lilypond[quote,ragged-right,fragment,verbatim]
2259 #(set-accidental-style 'modern)
2260 cis' c'' cis'2 | c'' c'
2263 @item @code{modern-cautionary}
2264 @cindex @code{modern-cautionary}
2265 This rule is similar to @code{modern}, but the ``extra'' accidentals
2266 (the ones not typeset by @code{default}) are typeset as cautionary
2267 accidentals. They are printed in reduced size or with parentheses
2268 @lilypond[quote,ragged-right,fragment,verbatim]
2269 #(set-accidental-style 'modern-cautionary)
2270 cis' c'' cis'2 | c'' c'
2273 @cindex @code{modern-voice}
2275 This rule is used for multivoice accidentals to be read both by musicians
2276 playing one voice and musicians playing all voices. Accidentals are
2277 typeset for each voice, but they @emph{are} canceled across voices in
2278 the same @internalsref{Staff}.
2280 @cindex @code{modern-voice-cautionary}
2281 @item modern-voice-cautionary
2282 This rule is the same as @code{modern-voice}, but with the extra
2283 accidentals (the ones not typeset by @code{voice}) typeset
2284 as cautionaries. Even though all accidentals typeset by
2285 @code{default} @emph{are} typeset by this variable,
2286 some of them are typeset as cautionaries.
2289 @cindex @code{piano} accidentals
2290 This rule reflects 20th century practice for piano notation. Very similar to
2291 @code{modern} but accidentals also get canceled
2292 across the staves in the same @internalsref{GrandStaff} or
2293 @internalsref{PianoStaff}.
2295 @item piano-cautionary
2296 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2297 Same as @code{#(set-accidental-style 'piano)} but with the extra
2298 accidentals typeset as cautionaries.
2301 @cindex @code{no-reset} accidental style
2302 This is the same as @code{default} but with accidentals lasting
2303 ``forever'' and not only until the next measure
2304 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2305 #(set-accidental-style 'no-reset)
2310 This is sort of the opposite of @code{no-reset}: Accidentals
2311 are not remembered at all---and hence all accidentals are
2312 typeset relative to the key signature, regardless of what was
2315 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2316 #(set-accidental-style 'forget)
2317 \key d\major c4 c cis cis d d dis dis
2324 Program reference: @internalsref{Accidental_engraver},
2325 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2330 Simultaneous notes are considered to be entered in sequential
2331 mode. This means that in a chord the accidentals are typeset as if the
2332 notes in the chord happened once at a time - in the order in which
2333 they appear in the input file.
2335 This is a problem when accidentals in a chord depend on each other,
2336 which does not happen for the default accidental style. The problem
2337 can be solved by manually inserting @code{!} and @code{?} for the
2341 @node Setting automatic beam behavior
2342 @subsection Setting automatic beam behavior
2344 @cindex @code{autoBeamSettings}
2345 @cindex @code{(end * * * *)}
2346 @cindex @code{(begin * * * *)}
2347 @cindex automatic beams, tuning
2348 @cindex tuning automatic beaming
2350 @c [TODO: use \applyContext]
2352 In normal time signatures, automatic beams can start on any note but can
2353 only end in a few positions within the measure: beams can end on a beat,
2354 or at durations specified by the properties in
2355 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2356 consist of a list of rules for where beams can begin and end. The
2357 default @code{autoBeamSettings} rules are defined in
2358 @file{scm/@/auto@/-beam@/.scm}.
2360 In order to add a rule to the list, use
2362 #(override-auto-beam-setting '(be p q n m) a b [context])
2367 @item @code{be} is either "begin" or "end".
2369 @item @code{p/q} is the duration of the note for which you want
2370 to add a rule. A beam is considered to have the duration of its
2371 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2372 have this apply to any beam.
2374 @item @code{n/m} is the time signature to which
2375 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2376 to have this apply in any time signature.
2378 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2380 @item @code{context} is optional, and it specifies the context at which
2381 the change should be made. The default is @code{'Voice}.
2382 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2383 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2387 For example, if automatic beams should always end on the first quarter
2391 #(override-auto-beam-setting '(end * * * *) 1 4)
2394 You can force the beam settings to only take effect on beams whose shortest
2395 note is a certain duration
2397 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2399 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2401 a32 a a a a16 a a a a a |
2402 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2403 a32 a a a a16 a a a a a |
2406 You can force the beam settings to only take effect in certain time
2409 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2411 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2419 You can also remove a previously set beam-ending rule by using
2422 #(revert-auto-beam-setting '(be p q n m) a b [context])
2426 be, p, q, n, m, a, b and context are the same as above. Note that the
2427 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2428 so you can revert rules that you did not explicitly create.
2430 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2432 a16 a a a a a a a a a a a a a a a
2433 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2434 a16 a a a a a a a a a a a a a a a
2437 The rule in a revert-auto-beam-setting statement must exactly match the
2438 original rule. That is, no wildcard expansion is taken into account.
2440 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2442 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2444 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2446 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2452 @c TODO: old material -- not covered by above stuff, I think.
2453 If automatic beams should end on every quarter in 5/4 time, specify
2456 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2457 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2458 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2459 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2463 The same syntax can be used to specify beam starting points. In this
2464 example, automatic beams can only end on a dotted quarter note
2466 #(override-auto-beam-setting '(end * * * *) 3 8)
2467 #(override-auto-beam-setting '(end * * * *) 1 2)
2468 #(override-auto-beam-setting '(end * * * *) 7 8)
2470 In 4/4 time signature, this means that automatic beams could end only on
2471 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2472 3/8, has passed within the measure).
2474 @cindex automatic beam generation
2476 @cindex @code{autoBeaming}
2479 If beams are used to indicate melismata in songs, then automatic
2480 beaming should be switched off with @code{\autoBeamOff}.
2485 @cindex @code{\autoBeamOff}
2486 @code{\autoBeamOff},
2487 @cindex @code{\autoBeamOn}
2493 If a score ends while an automatic beam has not been ended and is
2494 still accepting notes, this last beam will not be typeset at all. The
2495 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2496 >>}. If a polyphonic voice ends while an automatic beam is still
2497 accepting notes, it is not typeset.