3 redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\
7 redef(code)(1)(tt(ARG1))
12 the use of semicolons needs to be documented once it settles down
13 \times needs documentation with examples somewhere once it works (?)
15 the explanation of how lyrics mode parses words seems ridiculous.
16 Is there a simple way to explain this, or is the behavior
17 too complicated for a reasonable explanation?
18 \relative and \tranpose and \times make it necessary to specify
19 an explicit \type staff, or bizarre things happen.
22 extender* (see extender.ly)
23 \repeat & \alternative -> probably should have an example
27 COMMENT( This document contains Mudela fragments. You need at least
28 Yodl-1.30.18 to convert this to tex or html.
35 htmlbodyopt(bgcolor)(white)
36 htmlcommand(<font color=black>)
39 \setlength{\topmargin}{-0.25in}
40 \setlength{\textheight}{9in}
41 \setlength{\textwidth}{5.875in}
42 \setlength{\oddsidemargin}{0.25in}
43 \setlength{\evensidemargin}{0.25in}
47 whentexinfo(notableofcontents())
49 article(Mudela 1.0.7 / LilyPond 1.1.8 Reference Manual)
50 (Adrian Mariano, Han-Wen Nienhuys and Jan Nieuwenhuizen)
51 (nop()PIPETHROUGH(date "+%B %d, %Y")()()nop())
57 * paragraphs have too much space.
62 latexcommand(\def\interexample{})
63 latexcommand(\def\preexample{\par})
64 latexcommand(\def\postexample{\par\medskip})
65 latexcommand(\def\file#1{{code(#1)}})
67 latexcommand(\def\texttt#1{\tt #1})
68 latexcommand(\def\textbf#1{\bf #1})
71 COMMENT(urg, texinfo include breaks)
73 includefile(html-disclaimer.yo-urg)
76 bf(This document is not up to date). All rendered examples of course
77 are current, but the rest probably isn't. Adjusting the tutorial was
78 considered more important than writing the reference manual. We
79 apologize for the inconvenience. For a complete and up-to-date
80 definition, see file(lily/parser.yy), file(lily/lexer.ll), and the
83 This document describes the the GNU LilyPond input format, which is an
84 effective language for defining music. We call this language (rather
85 arrogantly) The Musical Definition Language or Mudela, for
86 short.footnote(If anybody comes up with a better name, we'd gladly
87 take this. Gourlay already uses Musical Description Language,
88 G-Sharp Score Definition Language. ISO standard 10743 defines a
89 Standard Music Description Language. We're not being original here.)
91 The first aim of Mudela is to define a piece of music, being complete
92 from both from a musical typesetting, as from a musical performing
95 The Musical Definition Language (Mudela), has a logical structure,
96 making use of identifiers, that allows for flexible input, and
97 definition reuse. See the documentation file file(MANIFESTO), included
98 with the LilyPond sources for reasons and design considerations.
101 sect(Running LilyPond)
103 When invoked with a filename that has no extension, LilyPond will try adding
104 a file(.fly) extension first, and a file(.ly) extension second.
105 If the filename ends with
106 file(.fly), LilyPond processes the file as music using
107 file(init.fly). In this case, LilyPond does something
111 \input "yourfile.fly"
116 If you invoke LilyPond with a file file(foo.)var(ext) that doesn't
117 have the file(.ly) extension then LilyPond will look for a file called
118 file(init.)var(ext) and process this file. The file
119 file(init.)var(ext) must contain the code(\maininput) keyword or LilyPond
120 will not read the user specified file.
122 When LilyPond processes file(filename.ly) it will produce file(filename.tex) as
123 output. If file(filename.ly) contains a second code(\paper) keyword, then
124 LilyPond will produce file(filename-1.tex) as well. Subsequent code(\paper)
125 keywords will produces sequentially numbered file names. Several files can be
126 specified; they will each be processed independently.
130 subsect(Basic Mudela)
132 A Mudela file consists of keywords with arguments and identifier
133 assignments separated by spaces, tabs or newlines. Semicolons are
134 used by some keywords but are not generally required. A one line
135 comment is introduced by a code(%) character. Block comments are
136 started by code(%{) and ended by code(%}). They cannot be nested.
138 Mudela supports several types:
143 Formed from an optional minus sign followed by digits. Arithmetic
144 operations cannot be done with integers, and integers cannot be mixed
148 Formed from an optional minus sign and a sequence of digits followed
149 by a emph(required) decimal point and an optional exponent such as
150 code(-1.2e3). Reals can be built up using the usual operations:
151 code(+), code(-), code(*), and code(/), with parentheses for grouping.
154 Begins and ends with the code(") character. To include a code(")
155 character in a string write code(\"). Various other backslash
156 sequences have special interpretations as in the C language. A string
157 that contains no spaces can be written without the quotes. See
158 Section ref(modes) for details on unquoted strings; their
159 interpretation varies depending on the situation. On the right side
160 of identifier assignments and within the code(\header) keyword,
161 strings can be concatenated using the code(+) character.
163 dit(dimension) Consists of a real followed by one of the dimension
164 keywords: code(\mm), code(\pt), code(\in), or code(\cm). Dimensions
165 are converted immediately to a real which gives the dimension in
166 points, so they can be mixed with reals, but the result is no longer
167 of type dimension. The keywords that require a dimension
171 A pitch is a string which is the name of a pitch. Example: code(a).
172 The pitch names can be redefined with the code(\notenames) keyword.
173 See Section(notelang) for pitch names in different languages. Pitches
174 can only be specified inside note mode which is specified with
175 code(\notes). Therefore, keywords which require pitch arguments must
176 appear inside code(\notes).
179 Music is a compound type: arbitrarily complicated expressions with a
180 hierarchical structure can be formed from simple building blocks. The
181 simplest expression of type music is a single note. A note is formed
182 from a pitch and an optional duration and must be specified within
183 code(\notes). See Section ref(notedesc) for details. More
184 complicated expressions of type music are formed by surrounding a
185 sequence of expressions of type music with braces code({) and code(})
186 or with angle brackets code(<) and code(>). Items appearing in braces
187 will be treated as serial. Items in angle brackets will be
188 simultaneous. So for example code({ c e g }) represents an arpeggio
189 and code(< c e g >) represents a chord. These items can be nested any
190 way you like. This simple example shows how three chords can be
191 expressed in two different ways:
192 mudela(fragment,verbatim,center)(
193 \notes<{a b c'}{c' d' e'}{e' f' g'}>
194 \notes{<a c' e'><b d' f'><c' e' g'>}
201 Compound types are built up from the simple types. The compound types
202 are: arglist, assignlist and musiclist. An arglist is a
203 white space separated list of integers, reals and or strings surrounded
204 by braces code({) and code(}). An assignlist is a list of
205 identifier assignments, which have the form var(key)code(=)var(value).
206 A statement in Mudela has one of three forms:
207 verb(\keyword argument
208 \keyword argument1 argument2 ... ;
214 Identifiers allow names to be assigned to constants, music, or other
215 Mudela structures. To assign an identifier you use
216 var(name)=var(value) and to refer to an identifier, you preceed its
217 name with a backslash: code(\)var(name). It is legal to redefine an
218 identifier in terms of its old value: code(foo = \foo * 2.0).
219 Identifier assignments must appear at the top level in the Mudela
222 An identifier can be created with any string for its name, but you
223 will only be able to refer to identifiers whose names begin with a
224 letter and are entirely alphanumeric. It is also impossible to refer
225 to an identifier whose name is the same as the name of a keyword. The
226 following words are keywords:
227 verb(absdynamic grouping mm relative
228 accepts header musicalpitch remove
229 alternative in name repeat tempo
230 bar include notenames scm time
231 cadenza key notes scmfile times
232 clef keysignature paper score translator
233 cm lyrics partial script transpose
234 consists maininput penalty shape type
235 duration mark property skip version
236 font midi pt spandynamic)
238 The right hand side of an identifier assignment is parsed completely
239 when the assignment is made. It therefore must have any context
240 specified in the definition. For example, you must write
241 code(foo=\notes{a8 b c}) rather than code(foo={a8 b c}). Even though
242 the context is specified in the definition, you must refer to the
243 identifier inside the correct context:
244 verb(foo = \paper{ linewidth = 6.0\in; }
249 If code(\foo) is used here without the surrounding code(\paper) then
250 an error will result. Note however that the following is acceptible
251 verb(foo = \notes { ... }
253 It is not necessary to specify code(\notes).
255 Identifiers can be set equal to integers, reals, strings, music,
256 durations (specified with code(\duration)), note ornaments (specified
257 with code(\script), dynamics commands, or code(:)), note name tables
258 (specified with code(\notenames), translator definitions, the
259 code(\paper) block, the code(\midi) block or the code(\score) block.
260 When identifiers are used for translators, the code(\paper),
261 code(\midi), and code(\score) blocks, they may only be referred to as
262 the first item in a block. So code(\paper{\one \two}) is illegal
263 because the identifier code(\two) is not the first thing in the block.
264 Unlike other identifier definitions, translator identifier definitions
265 can only appear within code(\midi) or code(\paper) blocks. See
266 Section ref(translators) for more information.
270 subsect(Hierarchical structures)
272 The general structure consists of declarations:
273 verb(IDENTIFIER = \TYPE{
278 verb(\TYPE{ <type specific data> })
280 (Currently, code(\score) is the only type that can be instantiated
283 Most instantiations that use an IDENTIFIER are specified as follows:
285 verb(\TYPE{ \IDENTIFIER [...] })
287 Some exceptions on this rule have been made to prevent inputting
288 Mudela becoming tedious
295 To simplify different aspects of music definition (entering the notes
296 and manipulating them) Mudela has three different input modes which
297 affect how unquoted strings are interpreted.
298 In each mode, words are identified on the input. If code("word") is
299 encountered, it is treated as a string. If code(\word) is
300 encountered it is treated as a keyword or as an identifier. The
301 behavior of the modes differs in two ways: different modes treat
302 unquoted words different, and different modes have different rules for
303 deciding what is a word.
308 At the start of parsing, Mudela is in normal mode.
309 In normal mode, a word is an alphabetic character followed by
310 alphanumeric characters. If code(word) is encountered on the input it
311 is treated as a string.
313 dit(Note mode) Note mode is introduced by the keyword
314 code(\notes). In Note mode, words can only contain alphabetic
315 characters. If code(word) is encountered, LilyPond first checks for a
316 notename of code(word). If no notename is found, then code(word) is
317 treated as a string. If you mistype a notename, the parser will most
318 likely complain that you should be in code(\lyrics) mode to do lyrics.
320 dit(Lyric mode) Lyrics mode is introduced by the keyword
321 code(\lyrics). This mode is has rules that make it easy to include
322 punctuation and diacritical marks in words. A word in Lyrics mode
323 begins with: an alphabetic character, code(_),
324 code(?), code(!), code(:), code('),
325 the control characters code(^A) through code(^F), code(^Q) through
326 code(^W), code(^Y), code(^^), any 8-bit character with ASCII code over
327 127, or a two character combination of a backslash followed by one
328 of code(`), code('), code(") or code(^).
329 Subsequent characters of a word can be any character that is not a
330 digit and not white space. One important consequence of this is that
331 a word can end with code(}), which may be confusing if you thought the
332 code(}) was going to terminate lyrics mode. Any code(_) characters
333 which appear in an unquoted word are converted to spaces, providing a
334 mechanism for introducing spaces into words without using quotes.
335 Quoted words can also be used in lyrics mode to specify words that
336 cannot be specified with the above rules. Here are some examples.
337 Not all of these words are printable by TeX().
338 verb(a&@&@&TSI|{[ % a word
340 1THtrhortho % not a word because it starts with a digit
341 ``Hello'' % not a word because it starts with `
342 Leise DOEXPAND(Fl\)DOEXPAND("u\)ss{}teren meine Sapfe % 4 words
343 _ _ _ _ % 4 words, each one a space
346 It is possible to create words that break the rules by prefixing them with the
347 dollar sign code($). Regardless of the context, a word beginning with code($)
348 extends until the next white space character. Such words can contain numbers
349 (even in Note mode), or other forbidden characters. The dollar sign can be
350 used to create and access identifiers that could not otherwise be used.
353 These modes are of a lexical nature. Normal and Note mode largely
354 resemble each other, save the possibility of entering Reals,
355 meaning of code(_) and the resolution of words
357 What's this about reals? When can you enter them or not enter them?)
360 sect(Note Description)
363 subsect(Basic Note Specification)
365 A note specification has the form
366 var(pitch)[var(octavespec)][code(!)][code(?)][var(duration)].
367 The pitch of the note is specified by the note's name.
369 LilyPond has predefined note names for various languages. The default
370 names are the Dutch note names. The notes are specified by the
371 letters code(c) through code(b), where code(c) is an octave below
372 middle C and the letters span the ocatave above that C.
373 In Dutch, a sharp is formed by adding
374 code(-is) to the end of a pitch name. A flat is formed by adding code(-es).
375 Double sharps and double flats are obtained by adding code(-isis) or
377 Lily has predefined sets of notenames
378 for various nop(languages). See Section ref(notelang) for details.
379 Rests are specified with the note name code(r) or code(R).
380 There is also a note name code(s) which produces a nonprinting note of the
383 The optional octave specification takes the form of a series of single
385 code(') characters or a series of comma code(,) characters. Each
386 code(') raises the pitch by one octave; each code(,) lowers the pitch
389 mudela(fragment,verbatim,center)(
390 c' d' e' f' g' a' b' c''
393 mudela(fragment,verbatim,center)(
394 cis' dis' eis' fis' gis' ais' bis'
397 mudela(fragment,verbatim,center)(
398 ces' des' es' fes' ges' as' bes'
401 mudela(fragment,verbatim,center)(
402 cisis' eisis' gisis' aisis' beses'
405 mudela(fragment,verbatim,center)(
406 ceses' eses' geses' ases' beses'
409 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
410 will determine what accidentals to typeset depending on the key and
412 A reminder accidental can be forced by
413 using the optional exclamation mark `code(!)'
415 A cautionary accidental, i.e., an accidental within paranthesis
416 can be obtained using the optional question mark `code(?)' on the pitch.
417 mudela(fragment,verbatim,center)(
418 cis' d' e' cis' c'? d' e' c'!
422 Durations are entered as their reciprocal values
423 mudela(fragment,verbatim,center)(
424 a'1 a'2 a'4 a a'8 a a'16 a'32 a'64
426 mudela(fragment,verbatim,center)(
430 If the duration is omitted then it is set equal to the previous
431 duration. If there is no previous duration, then a quarter note is
433 The duration can be followed by a dot code(.) to obtain dotted note
435 mudela(fragment,verbatim,center)(
439 In addition, the duration can be followed by a multiplier which is
440 introduced with the asterisk code(*) and can be an integer or a
441 fraction. The multiplier changes the duration that LilyPond uses
442 internally for the note, but for notes it
443 does not change the symbol that is printed.
444 mudela(fragment,verbatim,center)(
445 c'4*2 c'4*2 d'8*2/3 d'8*2/3
447 For long rests with durations equal to an integer number of whole notes,
448 LilyPond produces output that indicates the duration of the rest. If you use
449 code(r) then one rest symbol will be printed and several measures left blank.
450 If you use code(R) then all of the measure will be filled with whole rests.
451 If you set the code(Score.SkipBars) property, then only one measure will be
452 printed; with code(R), a number indicating the length of the rest will be
454 mudela(fragment,verbatim,center)(
456 \property Score.SkipBars=1
459 Extra long notes can be obtained using the code(\breve) and
460 code(longa) durations:
461 mudela(fragment,verbatim,center)(
466 subsect(Note Spanners: Beams, Tuplets, Slurs and Ties)
468 A beam is specified by surrounding the beamed notes with brackets
470 mudela(fragment,verbatim,center)(
471 [a'8 a'] [a'16 a' a' a']
474 [EXPLAIN TUPLETS HERE]
476 Another type of spanner is the slur. Slurs connects chords and try to
477 avoid crossing stems. A slur is started with code(CHAR(40)) and stopped with
478 code(CHAR(41)). The starting code(CHAR(40)) appears to the right of the first note
479 in the slur. The terminal code(CHAR(41)) apppears to the left of the first
480 note in the slur. This makes it possible to put a note in slurs from
482 mudela(fragment,verbatim,center)(
483 f'()g'()a' [a'8 b'(] a'4 g' )f'
486 A tie connects two adjacent note heads. When used with chords, it
487 connects all of the note heads. Ties are indicated using the tilde symbol
488 code(~) by analogy with TeX()'s tie which connects words.
490 mudela(fragment,verbatim,center)(
491 e' ~ e' <c' e' g'> ~ <c' e' g'>
495 subsect(Note Ornaments)
497 A variety of symbols can appear above and below notes to indicate
498 different characteristics of the performance.
500 added to a note with `var(note)code(-\)var(name)'. Numerous different
501 symbols are defined in file(script.ly). Each symbol is defined using
502 the code(\script) keyword which specifies where symbols appear.
503 Symbols can be forced to appear above the note by writing
504 `var(note)code(^\)var(name)', and they can be forced to appear below
505 by writing `var(note)code(_\)var(name)'. Here is a chart showing
506 symbols above notes, with the name of the corresponding symbol
507 appearing underneath.
511 < \notes{ c''-\accent c''-\marcato c''-\staccatissimo f'-\fermata
512 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow c''-\downbow
513 c''-\lheel c''-\rheel c''-\ltoe c''-\rtoe c''-\turn
514 c''-\open c''-\flageolet c''-\reverseturn
516 c''-\prall c''-\mordent c''-\prallprall c''-\prallmordent
517 c''-\upprall c''-\downprall c''-\thumb}
518 \type Lyrics \lyrics{
519 accent marcato staccatissimo fermata stopped
520 staccato tenuto upbow downbow lheel rheel ltoe rtoe turn
521 open flageolet reverseturn
523 mordent prallprall prallmordent uprall downprall thumb}>
524 \paper{linewidth = 5.875\in;
530 COMMENT( The following are defined in script.ly but do not work:
532 portato lbheel rbheel lbtoe rbtoe lfheel rfheel lftoe rftoe )
534 In addition, it is possible to place arbitrary strings of text or
535 TeX() above or below notes by using a string instead of an identifier:
536 `code(c^"text")'. Fingerings can be placed by simply using digits.
537 All of these note ornaments appear in the printed output but have no
538 effect on the MIDI rendering of the music.
540 To save typing, a few common symbols can be abbreviated with
544 \property Voice.textstyle = typewriter
550 c''4-^_"c-\\^{ }" s4 }
551 \paper { linewidth = 12.\cm; }})
553 Dynamic marks are specified by using an identifier after a note
554 without a dash: code(c4 \ff). Note that this syntax is inconsistent
555 with the syntax for other types of ornaments. The available dynamic
556 marks are: code(\pppppp), code(\ppppp), code (\pppp), code(\ppp), code(\pp),
557 code(\p), code(\mp), code(\mf), code(\f), code(\ff), code(\fff),
558 code(\ffff), code(\fffff), code(\ffffff),
559 code(\fp), code(sf), code(\sff), code(\sp), code(\spp), (\sfz) and code (\rfz).
561 A crescendo mark is started with code(\cr) and terminated with
562 code(\rc). A decrescendo mark is started with code(\decr) and
563 terminated with code(\rced). There are also shorthands for these
564 marks. A crescendo can be started with code(\<) and a decrescendo can
565 be started with code(\>). Either one can be terminated with code(\!).
566 Note that code(\!) must go before the last note of the dynamic mark whereas
567 code(\rc) and code(\rced) go after the last note. Because these marks are
568 bound to notes, if you want to get several marks during one note, you must use
570 mudela(fragment,verbatim,center)(
571 c'' \< \! c'' d'' \decr e'' \rced
572 < f''1 {s4 \< \! s4 \> \! s2 } >)
574 Tremolo marks can be printed by a note by adding code(:)[var(length)]
575 after the note. The length must be at least 8. A var(length) value
576 of 8 gives one line across the note stem.
577 If the length is omitted,
578 then the last value is used, or the value of the code(Abbrev)
579 property if there was no last value. To place tremolo marks in
580 between two notes, begin with code([:)var(length) and end with code(]).
581 The tremolo marks will appear instead of beams. Putting more than two
582 notes in such a construction will produce odd effects.
584 [TREMOLO BEAMS TEMPORARILY OUT OF ORDER]
586 COMMENT(mudela (fragment,verbatim,center)(
587 c'2:8 c':32 [:16 e'1 g'] [:8 e'4 f']
591 Is the last paragraph correct? Is it called "tremolo"? Why is
592 "abbreviation" used? (What is the unabreviated form?)
595 mudela (fragment,verbatim,center)(
602 sect(Other Ways to Enter Pitches)
604 subsect(Pitch Names in Other Languages)
607 The pitch names can be easily redefined using the code(\notenames) command.
608 Note name definitions have been provided in various languages.
609 Simply include the language specific init file. For example:
610 code(\include "english.ly"). The available language files and the names
613 verb( Note Names sharp flat
614 nederlands.ly c d e f g a bes b -is -es
615 english.ly c d e f g a bf b -s/-sharp -f/-flat
616 deutsch.ly c d e f g a b h -is -es
617 norsk.ly c d e f g a b h -iss/-is -ess/-es
618 svenska.ly c d e f g a b h -iss -ess
619 italiano.ly do re mi fa sol la sid si -d -b)
621 subsect(Relative Pitch Specification)
624 One very common error when entering music is to place notes in the wrong
625 octave. One way to avoid being confused by large numbers of octave changing
627 the code(\relative) keyword.
628 Music which appears within code(\relative) is
629 interpreted differently. The octave of a note is determined by making it as
630 close to the previous note as possible. The octave changing marks code(') and
631 code(,) can then be added to raise or lower this note by octaves. You have to
632 specify a starting pitch because the first note of a list has no predecessor.
634 mudela(fragment,verbatim,center)(
635 \relative c'' { c d b c, d b c' d
639 When the preceeding item is a chord, the first note of the chord is used to
640 determine the first note of the next chord. But other notes within the second
641 chord are determined by looking at the immediately preceeding note.
643 mudela(fragment,verbatim,center)(
644 \relative c' { <c e g>
648 The code(\relative) keyword can only appear in music, so there must be a
649 surrounding code(\notes) keyword which does not appear in the fragments shown
650 above. Also note that if the music passed to a code(\relative) keyword
651 contains a code(\transpose) keyword, the tranposed music will not be
652 processed in relative mode. An additional code(\relative) must be placed
653 inside the code(\transpose).
656 subsect(Tranposition of Pitches)
659 Another way to modify the meaning of the note names is to use the
660 code(\transpose) keyword. This keyword allows you to transpose music.
661 To use transposition, specify the pitch that middle C should be tranposed to.
662 It is important to distinguish between enharmonic pitches as they can produce
663 different transpositions. To transpose up half a step, for example, either
664 code(\transpose cis') or code(\transpose des') will work. But the first
665 version will print sharps and the second version will print flats.
666 In this example, a scale in the key of E is transposed to F, or to E-sharp
668 mudela(fragment,verbatim,center)(
669 \relative c' { \key e;
670 e fis gis a b cis dis e }
672 mudela(fragment,verbatim,center)(
673 \transpose des' \relative c' { \key e;
674 e fis gis a b cis dis e }
676 mudela(fragment,verbatim,center)(
677 \transpose cis' \relative c' { \key e;
678 e fis gis a b cis dis e }
680 If you want to use both code(\transpose) and code(\relative), then you must use
681 code(\transpose) first. Any code(\relative) keywords that are outside the
682 code(\transpose) have no effect on notes that appear inside the
687 Lyrics are entered like notes, with pitches replaced
688 by text. For example code(Twin-4 kle4 twin-4 kle4) enters four
689 syllables, each with quarter note duration. Note that the hyphen has
690 no special meaning for lyrics, and does not introduce special symbols.
691 See Section ref(modes) for a description of what is interpreted as a lyric.
693 In order to instruct LilyPond to write lyrics underneath the
694 staff, you must enter the lyrics context with code(\type Lyrics).
695 Lyrics should be entered in lyrics mode which is entered with code(\lyrics).
697 Spaces can be introduced into a lyric either by using quotes (code("))
698 or by using an underscore without quotes: code(He_could4 not4). All
699 unquoted underscores are converted to spaces. Here is a full example:
700 mudela(verbatim)(\score{
701 < \notes \transpose c'' {c d e c | c d e c | e f g'2 |
702 e'4 f g'2 \bar "|."; }
703 \type Lyrics \lyrics {
704 DOEXPAND(Fr\)`e-4 re Ja- que DOEXPAND(Fr\)`e- re Ja- que
705 Dor- mez vous?2 Dor-4 mez vous?2 }
713 Why does this warrant an URG?
719 sect(Chords and Voices)
721 Here's a simple chord
722 mudela(fragment,verbatim,center)(
727 mudela(fragment,verbatim,center)(
736 mudela(fragment,verbatim)(
738 { \voiceone c'4 g' c' g' }
747 LilyPond aligns all musical objects according to the amount of time
748 they occupy. All of these objects have a duration. When music is
749 written sequentially using braces the duration is the sum of the
750 durations of the elements. When music is stacked into simultaneous music
752 brackets, the duration is the maximum of the durations of the
755 Because LilyPond knows the durations of all musical elements, the time
756 signature enables LilyPond to draw bar lines automatically. The time
757 signature is specified with the code(\time) keyword: code(\time 3/4).
758 If no time signature is given, LilyPond assumes 4/4. The automatic
759 generation of bar lines can toggled with the code(\cadenza) keyword,
760 and an incomplete measure at the start of the music can be created
761 using the code(\partial) keyword: code(\partial 8*2;) creates a
762 starting measure lasting two eighth notes.
764 In order to help with error checking, you can insert bar markers in
765 your music by typing code(|). Whenever LilyPond encounters a code(|)
766 that doesn't fall at a measure boundary, she prints a warning message.
768 Rhythmic grouping is a concept closely associated with this.
769 A default grouping is selected for the chosen time signature.
770 The default consists of combinations of 2 and 3 beats with as many
771 groups of 3 as possible, and the groups of 3 coming first. For
772 example, 4/4 is divided into 2+2 and 8/8 is divided into 3+3+2. This
773 default grouping can be changed using the \grouping keyword which
774 takes a list of durations to specify the grouping.
778 sect(Composition: forming bigger structures)
781 The computer savy user may be interested in a more formal
782 specification. We can capture what have learned about forming
783 sentences in Mudela in a context-free grammar.
785 latexcommand(\smallskip)
788 row(cell(em(Music))cell(: em(Note)))
789 row(cell()cell(code(|) em(Rest)))
790 row(cell()cell(code(|) code({) em(MusicList) code(})))
791 row(cell()cell(code(|) code(<) em(MusicList) code(>)))
792 row(cell()cell(code(|) em(Command)))
793 row(cell()cell(code(|) code(\type) em(string) code(=) em(string) em(Music)))
795 row(cell(em(MusicList))cell(: em(empty)))
796 row(cell()cell(code(|) em(MusicList) em(Music)))
800 latexcommand(\smallskip)
802 In mathematics you can form expressions by combining expressions,
803 which are ultimately some kind of atom or terminal symbol. The same
804 goes for Mudela: there are some basic building blocks, and by
805 combining those you create complex music.
807 You can combine music in three ways:
809 it()If you enclose a sequence of music-elements in braces ( code({)
810 and code(}) ), then you form another kind of music called
813 The duration of sequential composition is the sum of the durations of its elements
815 { c c g g a a g2 } % twinkle twinkle
816 { { c c g g} { a a g2 } }
818 it()You can stack music by enclosing a sequence of music elements
819 with code(<) and code(>). This is called simultaneous music.
820 The duration of a simultaneous composition is the maximum of the durations
821 of its elements Example:
823 <a4 {cis8 cis8} e'4> % a-major chord
825 it()You can form music by transposing music:
828 d % from c to the d that's almost one octave down
829 { e4 f4 } % the horizontal music
833 it()verb(\translator)
837 Of course you can also combine these three mechanisms.
839 { c <c e> <c e g> <c e g \transpose d' dis > } % 4 increasing chords
847 Keywords sometimes appear alone, but usually they require arguments.
848 A keyword may have a single argument, a sequence of arguments in
849 braces, or a sequence of arguments separated by spaces and terminated
850 by a semicolon. The precise syntax of each keyword is shown below.
851 Keywords must appear in the right context. If you use a keyword in
852 the wrong place, even if the usage is syntactically correct, you will
853 get the message ``parse error'' from LilyPond.
858 dit(code(\absdynamic) code({) var(code) code(})) Internal keyword for
859 printing dynamic marks such as $f$ under music. The parameter
860 var(code) is unsigned and specifies the dynamic mark to print.
861 Normally you should use the more user friendly abbreviations defined
862 in the init file file(dynamic.ly).
864 dit(code(\accepts) var(string)code(;)) This keyword can appear only within a
865 code(\translator) block. It specifies what contexts are allowed with the
866 context that is being defined. See Section ref(translators).
868 dit(code(\alternative) code({) var(music1) var(music2) ... code(}))
869 Specifies alternative endings. Must come after a code(\repeat) keyword.
871 dit(code(\bar) var(bartype)code(;)) Prints a special bar symbol, or at
872 measure boundaries, replaces the regular bar symbol with a special
873 symbol. The argument var(bartype) is a string which specifies the
874 kind of bar to print. Options are code(":|"), code("|:"),
875 code(":|:"), code("||"), code("|."), code(".|"), or code(".|.").
876 These produce respectively a right repeat, a left repeat, a double
877 repeat, a double bar, a start bar, an end bar, or a thick double bar.
878 If var(bartype) is set to code("empty") then nothing is printed, but a
879 line break is allowed at that spot. Note that the printing of special bars
880 has no effect on the MIDI output.
882 dit(code(\cadenza) var(togglevalue)code(;)) Toggles the automatic generation
883 of bar lines. If var(togglevalue) is 0 then bar line generation is
884 turne off. If var(togglevalue) is 1 then a bar is immediately
885 printed and bar generation is turned on.
887 dit(code(\clef) var(clefname)code(;)) Allowed only in music.
888 Sets the current clef. The argument is
889 a string which specifies the name of the clef. Several clef names are
890 supported. If code(_8) or code(^8) is added to the end of a clef
891 name then the clef lowered or raised an octave will be generated.
892 Here are the supported clef names with middle C shown in each clef:
896 %\property Voice.textstyle = typewriter
897 \clef subbass; c'4-"\kern-10mm subbass"
898 \clef bass; c'4^"\kern -8mm bass"
899 \clef baritone; c'4_"\kern -10mm baritone"
900 \clef varbaritone; c'4^"\kern -10mm varbaritone"
901 \clef tenor; c'4_"\kern -10mm tenor"
902 \clef "G_8"; c'4^"\kern -6mm G\_8" }
903 \paper{ linewidth= 4.5 \in; }
908 \notes{\cadenza 1; \clef alto; c'4_"\kern -10mm alto"
909 \clef scarlatti; c'4_"\kern -4mm scarlatti"
910 \clef mezzosoprano; c'4^"\kern -10mm mezzosoprano"
911 \clef soprano; c'4_"\kern -10mm soprano"
912 \clef treble; c'4^"\kern -6mm treble"
913 \clef french; c'4_"\kern -10mm french" }
914 \paper{ linewidth= 4.5 \in; }
917 The treble clef can also be obtained using the names code(G) or
918 code(violin). The bass clef is also available by code(\clef F).
920 dit(code(\cm)) Specify a dimension in centimeters.
922 dit(code(\consists) var(string)code(;)) This keyword can appear only within a
923 code(\translator) block. It specifies that an engraver or performer named
924 var(string) should be added to the translator. See Section
927 dit(code(\duration) code({) var(length) var(dotcount) code(})) Specify note
928 duration. The parameter var(length) is the negative logarithm (base
929 2) of duration: 1 is a half note, 2 is a quarter note, 3 is an eighth
930 note, etc. The number of dots after the note is given by
933 dit(code(\font) var(string)) Internal keyword. Used within
934 code(\paper) to specify the font.
936 dit(code(\grouping) var(durationseq)code(;)) Sets the metric structure of
937 the measure. Each argument specifies the duration of one metric unit.
938 For example, code(\duration 16*5;) specifies a grouping of five beats
939 together in 5/16 time. The default grouping is to have as many groups
940 of 3 as possible followed by groups of two.
942 dit(code(\header) code({) var(key1) = var(val1); var(key2) = var(val2); ... code(}))
943 Specifies information about the music. A header should appear at the
944 top of the file describing the file's contents. If a file has
945 multiple code(\score) blocks, then a header should appear in
946 each score block describing its contents. Tools like code(ly2dvi) can
947 use this information for generating titles. Key values that are used
948 by ly2dvi are: title, subtitle, composer, opus, poet, instrument,
949 metre, arranger, and piece.
951 dit(code(\in)) Specify a dimension in inches.
953 dit(code(\include) var(file)) Include the specified file. The
954 argument var(file) is a string. The full filename including the
955 file(.ly) extension must be given, and the filename must be quoted.
956 (An unquoted string will not work here.)
958 dit(code(\key) var(pitch) var(type) code(;)) Change the key signature.
959 var(type) should be code(\major) or code(\minor) to get
960 var(pitch)-major or var(pitch)-minor, respectively. The second
961 argument is optional, the default is major keys.
962 The var(\type) argument can also be given as an integer, which tells
963 the number of semitones that should be added to the pitch given in the
964 subsequent code(\key) commands to get the corresponding major key,
965 e.g. code(\minor) is defined as 3.
967 dit(code(\keysignature) var(pitchseq)code(;))
968 Specify an arbitrary key signature. The pitches from var(pitch) will
969 be printed in the key signature in the order that they appear on the list.
971 dit(code(\lyrics) var(lyriclist)) Parse var(lyriclist) in lyrics mode.
973 dit(code(\maininput)) Internal command. This command is used for creating init
974 files like file(init.fly) that read the user file into the middle of another
975 file. Using it in a user file will lead to an infinite loop.
977 dit(code(\mark) var(unsigned)code(;) or code(\mark) var(string)code(;))
978 Allowed in music only. Prints a mark over or under (depending on the
979 code(markDirection) property) the staff.
980 You must add code(Mark_engraver) to the Score context.
982 dit(code(\midi) var(statementlist)) Appears in a score block to
983 indicate that musical output should be produced and to set output
984 parameters. Can also appear at the top level to set default output
985 parameters. See code(\tempo).
987 dit(code(\mm)) Specify a dimension in millimeters.
989 dit(code(\musicalpitch) code({) var(octave) var(note) var(shift) code(}))
990 Specify note pitch. The octave is specified by an integer,
991 zero for the octave containing middle C. The note is a number from 0
992 to 7, with 0 corresponding to C and 7 corresponding to B. The shift
993 is zero for a natural, negative to add flats, or positive to add
996 dit(code(\name) var(context)code(;)) Appears within code(\translator) to
997 specify the name of the context that the translator handles. See Section
1000 dit(code(\notenames) var(assignmentlist)) Define new note names. This
1001 keyword can appear only at the top level.
1002 The argument is a list of definitions of the form
1003 var(name) = var(pitch), where var(pitch) is specified with the
1004 code(\musicalpitch) keyword.
1006 dit(code(\notes) var(music)) Enter note mode and process the
1009 dit(code(\)code(output) var(string)code(;)) Generate a parse error.
1011 dit(code(\paper) var(statmentlist))
1012 Appears in a score block to indicate that the music should be printed
1013 or to set output parameters. Can also appear at the top level to set
1014 default output parameters for all of the score blocks.
1015 The var(statmentlist) contains statements that change features of the
1016 output. See Section ref(paper).
1018 dit(code(\partial) var(duration)code(;)) Specify that the first measure of
1019 the music lasts only for the specified duration.
1021 dit(code(\penalty) code(=) var(int)code(;)) Allowed only in music.
1022 Discourage or encourage line breaks. See identifiers code(\break) and
1023 code(\nobreak) in Section ref(ident).
1025 dit(code(\property) var(contextname)code(.)var(propname) code(=) var(value))
1026 Sets the var(propname) property of the context var(contextname) to the
1027 specified var(value). All three arguments are strings. Depending on
1028 the context it may be necessary to quote the strings or to leave space
1029 on both sides of the dot.
1031 dit(code(\pt)) Specify a dimension in points.
1033 dit(code(\relative) var(pitch) var(music)) Processes the specified
1034 var(music) in relative pitch
1035 mode. In this mode, the octave of a pitch is chosen so that the
1036 pitch is closest to the preceeding pitch.
1037 The argument var(pitch) is
1038 the starting pitch for this comparision. In the case of chords, the
1039 first note of a chord is used as the base for the first pitches in the next
1040 chord. See Section ref(relative).
1042 dit(code(\remove) var(string)code(;)) Can appear only in a
1043 code(\translator) block. Specifies that a performer or engraver named
1044 var(string) should be removed. See Section ref(translators).
1046 dit(code(\repeat) var(count) code({) var(music) code(}))
1047 Repeats the specified
1048 music var(count) times. Alternative endings can be specified by adding a
1049 code(\alternative) keyword after the code(\repeat).
1051 dit(code(\scm) var(scheme)code(;)) Embeds specified Scheme code.
1053 dit(code(\scmfile) var(filename)code(;)) Reads Scheme code from the specified
1056 dit(code(\score) var(statementlist)) Create a Score context. This
1057 is the top level notation context.
1058 COMMENT(this still needs work)
1060 dit(code(\script) code({) var(name) var(instaff) var(withstem)
1061 var(location) var(invertible) var(priority) code(})) This keyword is
1062 used the initialization file(script.ly) to define the various symbols
1063 that can appear above and below notes. The first argument is the name
1064 of the symbol. The second argument var(instaff) is 1 if the symbol
1065 follows the notehead into the staff and 0 if the symbol stays above or
1066 below the staff lines. The third parameter var(withstem) is 0 if the
1067 symbol's placement does not depend on the stem direction; it is 1 if
1068 the symbol should be at the stem end of the note and it is -1 if the
1069 symbol should be at the note head end of the note. The argument
1070 var(location) is set to 1 for symbols that always appear above the
1071 staff; it is -1 for symbols that appear below the staff. If
1072 var(invertible) is set to 1 then the symbol can be inverted; otherwise
1073 it cannot. The last argument var(priority) sets a priority for the
1074 order of placement of several symbols on a single note.
1076 dit(code(\shape) code(=) var(indent1) var(width1) var(indent2)
1077 var(width2) ... code(;)) Allowed only within code(\paper). Each pair
1078 of var(indent) and var(width) values is a dimension specifying how far
1079 to indent and how wide to make the line. The indentation and width of
1080 successive lines are specified by the successive pairs of dimensions.
1081 The last pair of dimensions will define the characeristics of all
1082 lines beyond those explicitly specified.
1084 COMMENT(First pair of dimensions seems to be skipped. At least it is
1085 in the example file denneboom.ly.)
1087 dit(code(\skip) var(duration)code(;)) Skips the amount of time specified by
1088 var(duration). A gap will be left for the skipped time with no notes
1089 printed. It works in Note Mode or Lyrics Mode (but generates a
1090 mysterious error in lyrics).
1092 dit(code(\spandynamic) code({) var(kind) var(toggle) code(})) Internal
1093 keyword for crescendo and decrescendo symbols. The first parameter
1094 var(kind) is set to 1 for a crescendo and -1 for a decrescendo. The
1095 second parameter is set to 1 to start the mark and 2 to stop it.
1096 Users should use the abbreviations which are defined in the
1097 initialization file file(dynamic.ly).
1099 dit(code(\tempo) var(duration) = var(perminute)code(;)) Used within
1100 code(\midi) or within music to specify the tempo. For example,
1101 `code(\midi { \tempo 4 = 76;})' requests output with 76 quarter notes
1102 per minute. Note that if the music contains several tempo commands,
1103 only the last one is used to set the tempo for the entire MIDI output.
1104 COMMENT(Is this true?)
1106 dit(code(\time) var(numerator)code(/)var(denominator)code(;)) Change the time
1107 signature. The default time signature is 4/4.
1109 dit(code(\times) var(numerator)code(/)var(denominator) var(music))
1110 Multiply the duration of var(music) by the specified fraction.
1112 dit(code(\translator) var(statements) or code(\translator)
1113 var(context) = var(name)) The first variant appears only within
1114 code(\paper) and specifies a translator for
1115 converting music to notation. The translator is specified with a
1116 single code(\type) statement and a series of code(\accepts), and
1117 code(\consists) statements. See Section ref(translators).
1118 The second variant appears in
1119 music. It specifies that the current the contexts
1120 contained within the specified context should be shifted to the
1121 context with the specified name.
1123 COMMENT( \translator seems like a strange name for the second
1124 operation, and is the overloading desireable? )
1126 dit(code(\transpose) var(pitch) var(music)) Transposes the specified
1127 music. Middle C is tranposed to var(pitch). This is allowed in music only,
1128 and if it appears inside code(\relative), then any notes specified for
1129 transposition should be specified inside another code(\relative). See Section
1132 dit(code(\type) var(contexttype) [code(=) var(contextname)]
1133 var(music) or code(\type) var(translatortype)code(;)) The first
1134 variant is used only within music to create an instance of a
1135 context. The new context can optionally be given a name. The
1136 specified var(music) is processed in the new context. The second
1137 variant appears within a code(\translator) block and specifies the
1138 type of translator being created.
1140 dit(code(\version) var(string)) Specify the version of Mudela that a
1141 file was written for. The argument is the version number, for example
1142 code("1.0.1"). Note that the Mudela version is different from the
1148 sect(Notation Contexts)
1150 Notation contexts provide information that appears in printed music
1151 but not in the music itself. A new musical context is created using
1152 the code(\type) keyword: `code(\type) var(contexttype) [code(=)
1153 var(contextname)] var(music)'. The following context types are
1158 dit(code(LyricVoice)) Corresponds to a voice with lyrics. Handles the printing
1159 of a single line of lyrics.
1161 dit(code(Voice)) Corresponds to a voice on a staff.
1162 This context handles the conversion of noteheads,
1163 dynamic signs, stems, beams, super- and subscripts, slurs, ties and rests.
1165 dit(code(Lyrics)) Typesets lyrics. It can contain code(LyricVoice) contexts.
1167 dit(code(Staff)) Handles clefs, bar lines, keys,
1168 accidentals. It can contain code(Voice) contexts.
1170 dit(code(RhythmicStaff)) A context like code(Staff) but for printing
1171 rhythms. Pitches are ignored; the notes are printed on one line.
1172 It can contain code(Voice) contexts.
1174 dit(code(GrandStaff)) Contains code(Staff) or code(RhythmicStaff)
1175 contexts. It adds a brace on the left side grouping the staffs
1176 together. The bar lines of the contained staffs are connected vertically.
1177 It can contain code(Staff) contexts.
1179 dit(code(StaffGroup)) Contains code(Staff) or code(RhythmicStaff)
1180 contexsts. Adds a bracket on the left side, grouping the staffs
1181 together. The bar lines of the contained staffs are connected vertically.
1182 It can contain code(Staff), code(RhythmicStaff), code(GrandStaff) or code(Lyrics) contexts.
1184 dit(code(ChoirStaff)) Identical to code(StaffGroup) except that the
1185 contained staffs are not connected vertically.
1187 dit(code(Score)) This is the top level notation context. It is specified with
1188 the code(\score) keyword rather than the code(\type) command. No
1189 other context can contain a code(Score) context. This context handles
1190 the administration of time signatures. It also makes sure that items
1191 such as clefs, time signatures, and key-signatures are aligned across
1192 staffs. It can contain code(Lyrics), code(Staff),
1193 code(RhythmicStaff), code(GrandStaff), code(StaffGroup), and
1194 code(ChoirStaff) contexts.
1198 The various contexts have properties associated with them. These
1199 properties can be changed using the code(\property) command:
1200 `code(\property) var(context)code(.)var(propname) code(=) var(value)'.
1201 Properties can also be set within the code(\translator) block
1202 corresponding to the appropriate context. In this case, they are
1203 assigned by `var(propname) code(=) var(value)'. The settings made with
1204 code(\property) are processed after settings made in the code(\translator)
1205 block, so the code(\property) settings will override code(\translator)
1208 The code(\property) keyword will create any property you specify.
1209 There is no guarantee that a property will actually be used. If you
1210 spell a property name wrong, there will be no error message. In order to find
1211 out what properties are used, you must search the source code
1212 for code(get_property).
1213 Properties that are set in one context are inherited by all of the
1214 contained contexts. This means that a property valid for the Voice
1215 context can be set in the Score context (for example) and thus take
1216 effect in all Voice contexts.
1218 subsubsubsect(Lyrics properties)
1222 dit(code(textstyle)) Set the font for lyrics. The available font
1223 choices are code(roman), code(italic), code(bold), code(large),
1224 code(Large), code(typewriter), and code(finger). The code(finger)
1225 font can only display numbers. Note also that you must be careful
1226 when using code(\property) in Lyrics mode. Because of the way strings
1227 are parsed, either put quotes around the arguments to code(\property)
1228 or be sure to leave a space on both sides of the dot.
1230 dit(code(textalignment)) Controls alignment of lyrics. Set to code(\left)
1231 to align the left end of the lyric with the note; set to code(\right) to
1232 align the right end of the lyric with the note. Set to code(\center) to
1233 align the center of the lyric with the note.
1237 subsubsubsect(Voice properties)
1241 dit(code("midi_instrument")) Sets the instrument for MIDI output. This
1242 property name must be quoted because of the embedded underscore. If
1243 this property is not set then LilyPond will use the code(instrument)
1244 property. This must be set to one of the strings on the list of MIDI
1245 instruments that appears in Section ref(midilist). If you use a
1246 string which is not listed, LilyPond will silently substitute piano.
1248 dit(code(transposing)) Tranpose the MIDI output. Set this property to
1249 the number of half-steps to transpose by.
1251 dit(code(ydirection)) Determines the direction of stems, subscripts,
1252 beams, slurs, and ties. Set to code(\down) to force them down,
1253 code(\up) to force them up, or code(\free) to let LilyPond decide.
1254 This can be used to distinguish between voices on the same staff. The
1255 code(\stemdown), code(\stemup), and code(\stemboth) identifiers set
1256 this property. See also the identifiers code(\voiceone),
1257 code(\voicetwo), code(\voicethree) and code(\voicefour).
1259 dit(code(slurydirection)) Set to code(\free) for free choice of slur
1260 direction, set to code(\up) to force slurs up, set to code(\down) to
1261 force slurs down. The shorthands code(\slurup), code(\slurdown), and
1262 code(\slurboth) are available.
1264 dit(code(tieYDirection)) Set to code(\free) for free choice of tie
1265 direction, set to code(\up) to force ties up, set to code(\down) to
1268 dit(code(slurdash)) Set to 0 for normal slurs, 1 for dotted slurs, and
1269 a larger value for dashed slurs. Identifiers code(\slurnormal) and
1270 code(\slurdotted) are predefined to set the first two settings.
1272 dit(code(hshift)) Set to 1 to enable LilyPond to shift notes
1273 horizontally if they collide with other notes. This is useful when
1274 typesetting many voices on one staff. The identifier code(\shift) is
1275 defined to enable this.
1277 dit(code(dynamicdir)) Determines location of dynamic marks. Set to
1278 code(\up) to print marks above the staff; set to code(\down) to print
1279 marks below the staff.
1281 dit(code(textalignment)) Controls alignment of superscripted and
1282 subscripted text. Set to \left to align the left end of the text with
1283 the note; set to \right to align the right end of the text with the
1284 note. Set to \center to align the center of the text with the note.
1286 dit(code(textstyle)) Set the text style for superscripts and
1287 subscripts. See above for list of text styles.
1289 dit(code(fontsize)) Can be used to select smaller font sizes for
1290 music. The normal font size is 0, and the two smaller sizes are -1
1293 dit(code(pletvisibility)) Determines whether tuplets of notes are
1294 labelled. Setting to 0 shows nothing; setting to 1 shows a number;
1295 setting to 2 shows a number and a bracket if there is no beam; setting
1296 to 3 shows a number, and if there is no beam it adds a bracket;
1297 setting to 4 shows both a number and a bracket unconditionally.
1299 dit(code(markScriptPadding)) Determines the extra space added between
1300 the mark and the closest staff line or note.
1302 dit(code(markDirection)) Determines if marks should be printed above
1303 or below the staff. Set to code(\up) to print marks above the staff;
1304 set to code(\down) to print marks below the staff.
1308 subsubsubsect(Staff properties)
1312 dit(code(defaultClef)) Determines the default clef. See code(\clef)
1315 dit(code(nolines)) Sets the number of lines that the staff has.
1317 dit(code(barAlways)) If set to 1 a bar line is drawn after each note.
1319 dit(code(defaultBarType)) Sets the default type of bar line. See
1322 dit(code(keyoctaviation)) If set to 1, then keys are the same in all
1323 octaves. If set to 0 then the key signature for different octaves can
1324 be different and is specified independently: code(\keysignature bes
1325 fis'). The default value is 1. Can be set to zero with
1326 code(\specialkey) or reset to 1 with code(\normalkey).
1328 dit(code(instrument) and code(instr)) If code(Staff_margin_engraver)
1329 is added to the Staff translator, then the code(instrument) property
1330 is used to label the first line of the staff and the code(instr)
1331 property is used to label subsequent lines. If the
1332 code(midi_instrument) property is not set then code(instrument) is
1333 used to determine the instrument for MIDI output.
1334 COMMENT(This prints the instrument name on top of the staff lines.)
1336 dit(code(abbrev)) Set length for tremolo to be used if no length is
1337 explicitly specified.
1339 dit(code(createKeyOnClefChange)) Set to a nonempty string if you want key
1340 signatures to be printed when the clef changes. Set to the empty string (the
1341 default) if you do not want key signatures printed.
1344 dit(code(timeSignatureStyle)) Changes the default two-digit layout
1345 for time signatures. The following values are recognized:
1347 dit(code(C)) 4/4 and 2/2 are typeset as C and struck C,
1348 respectively. All other time signatures are written with two digits.
1349 dit(code(old)) 2/2, 3/2, 3/4, 4/4, 6/4 and 9/4 are typeset with
1350 old-style mensuration marks. All other time signatures are
1351 written with two digits.
1352 dit(code(1)) All time signatures are typeset with a single
1353 digit, e.g. 3/2 is written as 3.
1354 dit(code(C2/2), code(C4/4), code(old2/2), code(old3/2),
1355 code(old3/4), code(old4/4), code(old6/4) or
1356 code(old9/4)) Tells Lilypond to use a specific symbol as time
1359 The different time signature characters are shown below with
1361 mudela(fragment,center)(
1363 \property Voice.textstyle = typewriter
1364 \property Staff.timeSignatureStyle = "C2/2"
1365 \time 2/2; a2^"C2/2" a2
1366 \property Staff.timeSignatureStyle = "C4/4"
1367 \time 2/2; a2^"C4/4" a2
1368 \property Staff.timeSignatureStyle = "old2/2"
1369 \time 2/2; a2^"old2/2" a2
1370 \property Staff.timeSignatureStyle = "old3/2"
1371 \time 2/2; a2^"old3/2" a2
1372 \property Staff.timeSignatureStyle = "old4/4"
1373 \time 2/2; a2^"old4/4" a2
1374 \property Staff.timeSignatureStyle = "old6/4"
1375 \time 2/2; a2^"old6/4" a2
1376 \property Staff.timeSignatureStyle = "old9/4"
1377 \time 2/2; a2^"old9/4" a2
1386 subsubsubsect(GrandStaff properties)
1390 dit(code(maxVerticalAlign)) Set the maximum vertical distance between
1393 dit(code(minVerticalAlign)) Set the minimum vertical distance between
1398 subsubsubsect(Score properties)
1402 dit(code(SkipBars)) Set to 1 to skip the empty bars that are produced
1403 by multimeasure notes and rests. These bars will not appear on the
1404 printed output. Set to zero (the default) to expand multimeasure
1405 notes and rests into their full length, printing the appropriate
1406 number of empty bars so that synrchonization with other voices is
1407 preserved. COMMENT(meaning of "skip" here seems to be different from
1408 the meaning used for the keyword \skip.)
1410 dit(code(beamquantisation)) Set to code(\none) for no quantization.
1411 Set to code(\normal) to quantize position and slope. Set to
1412 code(\traditional) to avoid wedges. These three settings are
1413 available via code(\beamposfree), code(\beamposnormal), and
1414 code(\beampostraditional).
1416 dit(code(beamslopedamping)) Set to code(\none) for undamped beams.
1417 Set to code(\normal) for damped beams. Set to code(\infinity) for
1418 beams with zero slope. The identifiers code(\beamslopeproportional),
1419 code(\beamslopedamped), and code(\beamslopezero) each set the
1420 corresponding value.
1429 bar-number-engraver.cc: "barScriptPadding" vertical space for numbers
1430 span-bar-engraver.cc: "singleStaffBracket" do single staffs get a bracket?
1431 bar-column-engraver.cc: "barColumnPriority"
1432 bar-number-engraver.cc: "barNumberBreakPriority" Control horizontal ordering
1433 mark-engraver.cc: "markBreakPriority" of bars, clefs, keysig
1434 staff-margin-engraver.cc:"marginBreakPriority" etc. Slated for revision
1437 sect(Pre-defined Identifiers)
1440 Various identifiers are defined in the initialization files to
1441 provide shorthands for some settings.
1444 dit(code(\break)) Force a line break in music by using a large
1445 argument for the keyword code(\penalty).
1446 dit(code(\center)) Used for setting textalignment property. Is set to 0.
1447 dit(code(\cr)) Start a crescendo.
1448 dit(code(\decr)) Start a decrescendo.
1449 dit(code(\down)) Used for setting direction setting properties. Is
1451 dit(code(\f)) Print forte symbol on the preceeding note.
1452 dit(code(\ff)) Print fortissimo symbol on the preceeding note.
1453 dit(code(\fff)) Print fortississimo symbol on preceeding note.
1454 dit(code(\ffff)) Print fortissississimo symbol on preceeding note.
1455 dit(code(\fffff)) Print fffff symbol on preceeding note.
1456 dit(code(\ffffff)) Print ffffff symbol on preceeding note.
1457 dit(code(\fp)) Print fortepiano symbol on preceeding note.
1458 dit(code(\free)) Used for setting direction setting properties. Is
1460 dit(code(\Gourlay)) Used for setting the paper variable
1461 code(castingalgorithm). Is equal to 1.0.
1462 dit(code(\infinity)) Used for setting the Score.beamslopedamping
1463 property. Is actually equal to 10000.
1464 dit(code(\left)) Used for setting textalignment property. Is equal to -1.
1465 dit(code(\major)) Used as the second argument of the code(\key)
1466 command to get a major key.
1467 dit(code(\minor)) Used as the second argument of the code(\key)
1468 command to get a minor key.
1469 dit(code(\mf)) Print mezzoforte symbol on preceeding note.
1470 dit(code(\mp)) Print mezzopiano symbol on preceeding note.
1471 dit(code(\nobreak)) Prevent a line break in music by using a large
1472 negative argument for the keyword code(\penalty).
1473 dit(code(\none)) Used for setting Score.beamslopedamping and
1474 Score.beamquantisation properties. Is equal to 0.
1475 dit(code(\normal)) Used for setting Score.beamslopedamping and
1476 Score.beamquantisation properties. Is equal to 1.
1477 dit(code(\normalkey)) Select normal key signatures where each octave
1478 has the same key signature. This sets the Staff.keyoctaviation property.
1479 dit(code(\p)) Print a piano symbol on preceeding note.
1480 dit(code(\pp)) Print pianissimo symbol on preceeding note.
1481 dit(code(\ppp)) Print pianississimo symbol on preceeding note.
1482 dit(code(\pppp)) Print pianissississimo symbol on preceeding note.
1483 dit(code(\ppppp)) Print ppppp symbol on preceeding note.
1484 dir(code(\pppppp)) Print pppppp symbol on preceeding note.
1485 dit(code(\rc)) Terminate a crescendo.
1486 dit(code(\rced)) Terminate a decrescendo
1487 dit(code(\rfz)) Print a rinforzato symbol on preceeding note.
1488 dit(code(\right)) Used for setting textalignment property. Is set to 1.
1489 dit(code(\sf)) Print a subito-forte symbol on preceeding note.
1490 dit(code(\sff)) Print a subito-fortissimo symbol on preceeding note.
1491 dit(code(\sfz)) Print a sforzato symbol on preceeding note.
1492 dit(code(\shiftoff)) Disable horizontal shifting of note heads that collide.
1493 Sets the Voice.hshift property.
1494 dit(code(\shifton)) Enable note heads that collide with other note heads
1495 to be shifted horiztonally. Sets the Voice.hshift property.
1496 dit(code(\slurboth)) Allow slurs to be above or below notes. This
1497 sets the Voice.slurydirection property.
1498 dit(code(\slurdown)) Force slurs to be below notes. This sets the
1499 Voice.slurydirection property.
1500 dit(code(\slurup)) Force slurs to be above notes. This sets the
1501 Voice.slurydirection property.
1502 dit(code(\sp)) Print a subito-piano symbol on preceeding note.
1503 dit(code(\spp)) Print a subito-forte symbol on preceeding note.
1504 dit(code(\specialkey)) Allow keys signatures do differ in different
1505 octaves. This sets the Staff.keyoctaviation property.
1506 dit(code(\stemboth)) Allow stems, beams, and slurs to point either
1507 direction. This sets the Voice.ydirection property.
1508 dit(code(\stemdown)) Force stems, beams, and slurs to point down.
1509 This sets the Voice.ydirection property.
1510 dit(code(\stemup)) Force stems, beams and slurs to point up. This
1511 sets the Voice.ydirection property.
1512 dit(code(\traditional)) Used for setting the
1513 Score.beamquantisation property. Is equal to 2.
1514 dit(code(\up)) Used for setting various direction properties. Is
1516 dit(code(\voiceone)) Enter Voice context called code(one) and force stems down.
1517 (See code(\stemdown).)
1518 dit(code(\voicetwo)) Enter Voice context called code(two) and force stems
1519 up. (See code(\stemup).)
1520 dit(code(\voicethree)) Enter Voice context called code(three) and force stems
1522 dit(code(\voicefour)) Enter Voice context called code(four), force stems down
1523 and turn on horizontal shifting. (See code(\stemdown) and code(\shifton).)
1524 dit(code(\Wordwrap)) Used for setting the paper variable
1525 code(castingalgorithm). Equal to 0.0.
1533 The output produced by LilyPond is controlled by the code(\paper) and
1534 code(\midi) keywords. These keywords appear in the code(\score) block
1535 to indicate that printed or musical output should be produced. If
1536 neither keyword appears in a code(\score) block, then paper output is
1537 produced but MIDI output is not produced.
1539 The contents of the code(\paper) and code(\midi) blocks can change the
1540 output in various ways. These blocks can appear at the top level of a
1541 Mudela file to set default parameters for each type of output. It is
1542 still necessary to explicitly specify the output type in the
1543 code(\score) blocks if you don't want the default behavior of
1544 producing only paper output.
1546 The code(\paper) and code(\midi) blocks
1547 may begin with an optional identifier reference. No
1548 identifier references are allowed anywhere else in the block.
1549 The code(\paper) block can contain the code(\shape) keyword; the
1550 code(\midi) block can contain the code(\tempo) keyword. Both of them
1551 can contain code(\translator) keywords. The code(\paper) block can
1552 also contain identifier assignments and parameter assignments. Unlike
1553 at the top level, these assignments must be terminated by a semicolon.
1556 subsect(Paper variables)
1558 There are a large number of paper variables that are used to control
1559 details of the layout. Usually you will not want to change these
1560 variables; they are set by default to vaules that depend on the font
1561 size in use. The only way to find out what variables are supported is
1562 to search the source code for code(get_var). Two variables that you
1563 may want to change are code(linewidth) and code(indent).
1565 In order to change the font size used for the output, many variables
1566 need to be changed. Some identifiers and initialization files can
1567 simplify this process. The default size is 20pt. In order to select
1568 a different size, you must do two things. At the top level, do
1569 code(\include "paper)var(SZ)code(.ly") where var(SZ) is the height of
1570 the staff in points. Values presently allowed are 11, 13, 16, 20, and
1571 26. This loads some definitions, but does not cause them to take
1572 effect. In order to actually change the size, you must use one of the
1573 identifiers: code(\paper_eleven), code(\paper_thirteen),
1574 code(\paper_sixteen), code(\paper_twenty) or code(\paper_twentysix)
1575 inside a code(\paper) block.
1579 dit(var(integer)) If an integer appears on the left side of an
1580 assignment then a code(\font) keyword must appear on the right
1581 side. This defines a music font at a particular size. See Voice
1582 property code(\fontsize).
1584 dit(code(arithmetic_basicspace) and code(arithmetic_multiplier))
1585 The space taken by a note is determined by the formula
1588 )verb(arithmetic_multiplier * ( c + log2 (time) ))COMMENT(
1590 ) where code(time) is the amount of time a note occupies. The value
1591 of code(c) is chosen such that the smallest space within a measure is
1592 arithmetic_basicspace. The smallest space is the one following the
1593 shortest note in the measure. Typically arithmetic_basicspace is set
1594 to the width of a quarter note head.
1596 dit(code(barsize)) Specify height of bars. This value may need to be
1597 adjusted if you change the number of lines in the staff.
1598 dit(code(beam_dir_algorithm)) Specify algorithm for determining
1599 whether beams go up or down. It is real valued. If set to 2.0 then
1600 majority selection is used. If set to 3.0, then mean selection is
1601 used based on the mean center distance. If set to 4.0 then median
1602 selection is used, based on the median center distance.
1603 dit(code(beam_ideal_stem1))
1604 dit(code(beam_ideal_stem2))
1605 dit(code(beam_minimum_stem1))
1606 dit(code(beam_minimum_stem2))
1607 dit(code(beam_multiple_break))
1608 dit(code(beam_slope_damp_correct_factor))
1609 dit(code(beam_thickness)) Specify the thickness of beams.
1610 dit(code(castingalgorithm))
1611 dit(code(forced_stem_shorten)) Stems that have been forced to go the
1612 unnatural direction are shortened by this amount. Equal to
1613 code(\interline) by default.
1614 dit(code(gourlay_energybound))
1615 dit(code(gourlay_maxmeasures)) Maximum number of measures per line
1616 when using Gourlay method.
1617 Decreasing this greatly reduces computation time. Default value: 10.
1618 dit(code(indent)) Sets the indentation of the first line of music.
1619 dit(code(interbeam))
1620 dit(code(interbeam4))
1621 dit(code(interline)) The distance between two staff
1622 lines, calculated from the center of the lines.
1623 dit(code(linewidth)) Sets the width of the lines. If it is set to
1624 -1.0, then a single unjustified line is produced.
1625 dit(code(notewidth)) Width of an average note head.
1626 dit(code(output)) Specifies an alternate
1627 name for the TeX() output. A file(.tex) extension will be added to
1628 the string you specify.
1629 dit(code(rulethickness)) Determines thickness of staff lines and bars.
1630 dit(code(slur_clip_angle))
1631 dit(code(slur_clip_height))
1632 dit(code(slur_clip_ratio))
1633 dit(code(slur_height_limit)) Specifies the maximum height of slurs.
1634 Normally equal to staff_height.
1635 dit(code(slur_ratio)) Specifes the ratio of slur hight to slur width
1636 to aim for. Default value is 0.3.
1637 dit(code(slur_rc_factor))
1638 dit(code(slur_slope_damping)) Allows slurs to start and end at
1639 different heights ???? Default value is 0.5.
1640 dit(code(slur_thickness)) Specify slur thickness. Equal to code(1.4 *
1641 \staffline) by default.
1642 dit(code(slur_x_gap)) Horizontal space between note and slur. Set to
1643 code(\interline / 5) by default.
1644 dit(code(slur_x_minimum))
1645 dit(code(staffheight)) The height of the staff from the center of the
1646 bottom line to the center of the top line. Equal to to code(4 * \interline).
1647 dit(code(stem_length)) Specify length of stems for notes in the staff
1648 that don't have beams.
1649 dit(code(stemthickness)) Specifies the thickness of the stem lines.
1650 dit(code(tie_slope_damping))
1651 dit(code(tie_x_minimum))
1655 subsect(MIDI Instrument Names)
1658 The MIDI instrument name is set by the code(Staff."midi_instrument")
1659 property or, if that property is not set, the code(Staff.instrument)
1660 property. The instrument name should be chosen from this list. If
1661 string does not exactly match one from this list then LilyPond uses
1664 COMMENT( acordina = accordion, tango accordian = concertina
1665 distortion guitar = distorted guitar
1666 orchestral strings = harp
1667 pan flute = wood flute? )
1669 verb("acoustic grand" "contrabass" "lead 7 (fifths)"
1670 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
1671 "electric grand" "pizzicato strings" "pad 1 (new age)"
1672 "honky-tonk" "orchestral strings" "pad 2 (warm)"
1673 "electric piano 1" "timpani" "pad 3 (polysynth)"
1674 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
1675 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
1676 "clav" "synthstrings 1" "pad 6 (metallic)"
1677 "celesta" "synthstrings 2" "pad 7 (halo)"
1678 "glockenspiel" "choir aahs" "pad 8 (sweep)"
1679 "music box" "voice oohs" "fx 1 (rain)"
1680 "vibraphone" "synth voice" "fx 2 (soundtrack)"
1681 "marimba" "orchestra hit" "fx 3 (crystal)"
1682 "xylophone" "trumpet" "fx 4 (atmosphere)"
1683 "tubular bells" "trombone" "fx 5 (brightness)"
1684 "dulcimer" "tuba" "fx 6 (goblins)"
1685 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
1686 "percussive organ" "french horn" "fx 8 (sci-fi)"
1687 "rock organ" "brass section" "sitar"
1688 "church organ" "synthbrass 1" "banjo"
1689 "reed organ" "synthbrass 2" "shamisen"
1690 "accordion" "soprano sax" "koto"
1691 "harmonica" "alto sax" "kalimba"
1692 "concertina" "tenor sax" "bagpipe"
1693 "acoustic guitar (nylon)" "baritone sax" "fiddle"
1694 "acoustic guitar (steel)" "oboe" "shanai"
1695 "electric guitar (jazz)" "english horn" "tinkle bell"
1696 "electric guitar (clean)" "bassoon" "agogo"
1697 "electric guitar (muted)" "clarinet" "steel drums"
1698 "overdriven guitar" "piccolo" "woodblock"
1699 "distorted guitar" "flute" "taiko drum"
1700 "guitar harmonics" "recorder" "melodic tom"
1701 "acoustic bass" "pan flute" "synth drum"
1702 "electric bass (finger)" "blown bottle" "reverse cymbal"
1703 "electric bass (pick)" "skakuhachi" "guitar fret noise"
1704 "fretless bass" "whistle" "breath noise"
1705 "slap bass 1" "ocarina" "seashore"
1706 "slap bass 2" "lead 1 (square)" "bird tweet"
1707 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
1708 "synth bass 2" "lead 3 (calliope)" "helicopter"
1709 "violin" "lead 4 (chiff)" "applause"
1710 "viola" "lead 5 (charang)" "gunshot"
1711 "cello" "lead 6 (voice)")
1715 subsect(Translators)
1718 The behavior of notation contexts is defined by the translators for
1719 those contexts. The translator for a context specifies what notations
1720 are handled by the context, it specifies what other contexts the
1721 context can contain, and it sets property values for the context.
1722 There are different translators for each type of output. The
1723 translators for paper output are defined in file(engraver.ly). The
1724 translators for MIDI output are defined in file(performer.ly).
1726 The first thing that appears inside a code(\translator) definition is
1727 the type of the context being created. This is specified with the
1728 code(\type) keyword: code(\type) var(typename)code(;). After the type
1729 of the context is specified, property assignments, the code(\name)
1730 keyword and code(\consists), code(\accepts), and code(\remove)
1731 keywords can appear in any order. The code(\name) keyword specifies
1732 the name of the context that is handled by the translator. If the
1733 name is not specified, the translator won't do anything. Each
1734 code(\accepts) keyword specifies what contexts can be contained inside
1735 this one. The code(\consists) keywords specify which notations are
1736 handled by the context. Each code(\consists) keyword specifies the
1737 name of an engraver (for paper ouput) or performer (for MIDI output)
1738 which handles a certain notation. The code(\remove) keyword can be
1739 used to remove a performer or engraver from the translator.
1741 In the code(\paper) block, it is also possible to define translator
1742 identifiers. Like other block identifiers, the identifier can only
1743 be used as the very first item of a translator. In order to define
1744 such an identifier outside of code(\score), you must do
1745 verb(\paper{ foo=\translator{ ... }
1748 \paper{ \translator{ \foo ... } }
1751 Some All of the standard translators have predefined identifiers, making
1752 it easy to redefine these contexts by adding or removing items.
1753 The predefined identifiers are: code(StaffContext),
1754 code(RhythmicStaffContext), code(VoiceContext), code(ScoreContext), code(ScoreWithNumbers)
1757 subsubsect(Paper Types and Engravers and Pre-defined Translators)
1759 Some pre-defined identifiers can simplify modification of translators.
1760 The pre-defined identifiers are:
1762 dit(code(StaffContext)) Default Staff context.
1763 dit(code(RhythmicStaffContext)) Default RhythmicStaff context.
1764 dit(code(VoiceContext)) Default Voice context.
1765 dit(code(ScoreContext)) Default Score context.
1766 dit(code(ScoreWithNumbers)) Score context with numbering at the
1768 dit(code(BarNumberingStaffContext)) Staff context with numbering at
1770 dit(code(HaraKiriStaffContext))
1771 dit(code(OrchestralPartStaffContext))
1772 dit(code(OrchestralScoreContext))
1774 Using these pre-defined values, you can remove or add items to the
1775 translator verb(\paper{ \translator{ \StaffContext
1776 \remove Some_engraver;
1777 \consists Different_engraver; }})
1781 There are four types for paper translators:
1783 dit(code(Engraver_group_engraver))
1784 dit(code(Hara_kiri_line_group_engraver))
1785 dit(code(Line_group_engraver_group))
1786 dit(code(Score_engraver))
1788 COMMENT( The names of these types seem somewhat confusing. )
1790 The engravers for paper output are:
1793 dit(code(Abbreviation_beam_engraver))
1794 dit(code(Bar_column_engraver))
1795 dit(code(Bar_engraver)) Engraves bar lines. Normally in code(Staff) and
1796 code(RhythmicStaff).
1797 dit(code(Bar_number_engraver)) Engrave bar numbers. These numbers
1798 appear at the start of each line. Not normally in any translator. Can
1799 be added to code(Score) for Score-wide numbering or to code(Staff) for
1800 numbering on each staff.
1802 dit(code(Beam_engraver)) Handles beam requests by engraving beams. Normally
1803 appears in the code(Voice) translator. If omitted, then notes will be printed
1804 with flags instead of beams.
1806 dit(code(Beam_req_swallow_translator)) Swallows beam requests. In
1808 dit(code(Clef_engraver)) Engraves the clef symbol. Normally in code(Staff).
1809 dit(code(Collision_engraver))
1810 dit(code(Dot_column_engraver)) Engraves dots on dotted notes shifted to the
1811 right of the note. Normally in code(Voice). If omitted, then dots appear on
1813 dit(code(Dynamic_engraver)) Engraves dynamics symbols. Normally in code(Voice).
1814 dit(code(Font_size_engraver))
1815 dit(code(Key_engraver)) Engraves the key signature. Normally in code(Staff).
1816 dit(code(Local_key_engraver))
1817 dit(code(Lyric_engraver)) Engraves lyrics. Normally in code(LyricVoice).
1818 dit(code(Multi_measure_rest_engraver)) Engraves multi-measure rests that are
1819 produced with code(R). Normally in code(Voice).
1820 dit(code(Piano_bar_engraver))
1821 dit(code(Pitch_squash_engraver)) Treat all pitches as middle C. Used in
1822 code(RhythmicStaff). Note that the notes move, but the locations of
1823 accidentals stay the same.
1824 dit(code(Plet_engraver)) Engraves brackets and the number over tuplets. In
1826 dit(code(Plet_swallow_engraver)) Swallows tuplet requests without any output.
1827 In code(LyricVoice).
1828 COMMENT( Should this be named Plet_req_swallow_translator? )
1829 dit(code(Priority_horizontal_align_engraver))
1830 dit(code(Repeat_engraver)) Handles repeats? In code(Staff) and
1831 code(RhythmicStaff).
1832 dit(code(Rest_collision_engraver)) Handles collisions of rests. In code(Staff).
1833 dit(code(Rest_engraver)) Engraves rests. Normally in code(Voice).
1834 dit(code(Rhythmic_column_engraver))
1835 dit(code(Score_priority_engraver))
1836 dit(code(Script_engraver)) Handles note ornaments generated by code(\script).
1837 Normally in code(Voice).
1838 dit(code(Separating_line_group_engraver))
1839 dit(code(Skip_req_swallow_translator))
1840 dit(code(Slur_engraver)) Engraves slurs. Normally in code(Voice).
1841 dit(code(Span_bar_engraver)) Engraves lines across multiple staffs. Normally
1842 in code(Staffgroup) and code(GrandStaff). Removing this from code(StaffGroup)
1843 gives the definition of code(ChoirStaff).
1844 dit(code(Span_score_bar_engraver))
1845 dit(code(Staff_group_bar_engraver))
1846 dit(code(Staff_margin_engraver)) Prints the name of the instrument
1847 (specified by code(Staff.instrument) and code(Staff.instr)) at the
1849 dit(code(Staff_sym_engraver))
1850 dit(code(Stem_engraver)) Engraves stems. Normally in code(Voice).
1851 dit(code(Ties_engraver)) Engraves ties. Normally in code(Voice).
1852 dit(code(Time_signature_engraver)) Engraves the time signature. Normally in
1853 code(Staff) and code(RhythmicStaff).
1854 dit(code(Timing_engraver)) Responsible for synchronizing timing information
1855 from staffs. Normally in code(Score). In order to create polyrhythmic music,
1856 this engraver should be removed from code(Score) and placed in code(Staff).
1857 dit(code(Tuplet_engraver)) Engraves tuplet brackets? In code(Staff).
1858 dit(code(Vertical_align_engraver))
1862 subsubsect(MIDI Types and Performers)
1864 The types available for MIDI translators are:
1866 dit(code(Performer_group_performer))
1867 dit(code(Score_performer))
1868 dit(code(Staff_performer))
1871 The performers for MIDI translators are:
1873 dit(code(Key_performer))
1874 dit(code(Time_signature_performer))
1875 dit(code(Note_performer))
1876 dit(code(Lyric_performer))
1877 dit(code(Swallow_performer))