4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
17 @unnumberedsubsec Bugs
22 @c .{Reference Manual}
24 @node Reference Manual
25 @chapter Reference Manual
27 This document describes GNU LilyPond and its input format. The last
28 revision of this document was for LilyPond 1.3.138.
50 * Interpretation context::
60 The purpose of LilyPond is explained informally by the term `music
61 typesetter'. This is not a fully correct name: not only does the
62 program print musical symbols, it also makes esthetic decisions.
63 Symbols and their placements are @emph{generated} from a high-level
64 musical description. In other words, LilyPond would be best described
65 by `music compiler' or `music to notation compiler'.
67 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
68 Scheme library provides the glue that holds together the low-level
69 routines and separate modules general, which are C++
71 When lilypond is run to typeset sheet music, the following happens:
73 @item GUILE Initialization: various scheme files are read
74 @item parsing: first standard @code{ly} initialization files are read, and
75 then the user @file{ly} file is read.
76 @item interpretation: the music in the file is processed ``in playing
77 order'', i.e. the order that you use to read sheet music, or the
78 order in which notes are played.
81 in this step, the results of the interpretation, a typesetting
82 specification, is solved.
84 @item the visible results ("virtual ink") is written to the output file.
87 During these stages different types of data play the the main role:
88 during parsing, @strong{Music} objects are created. During the
89 interpretation, @strong{context} is constructed, and with this context
90 af network of @strong{graphical objects} (``grobs'') is created. The
91 grobs contain unknown variables, and the network forms a set of
92 equations. After solving the equations and filling in these variables,
93 the printed output (in the form of @strong{molecules}) is written to an
96 These threemanship of tasks (parsing, translating, typesetting) and
97 data-structures (music, context, graphical objects) permeates the entire
98 design of the program. This manual is ordered in terms of user
99 tasks. With each concept will be explained to which of the three parts
108 The most basic forms of music are notes. We discuss how you enter them
109 here. Notes on their own don't form valid input, but for the sake of
110 brevity we omit obligotary lint such as @code{\score} blocks and
111 @code{\paper} declarations.
116 * Defining pitch names::
119 * Easy Notation note heads ::
132 @cindex Note specification
134 @cindex entering notes
136 The verbose syntax for pitch specification is
138 @cindex @code{\pitch}
140 \pitch @var{scmpitch}
143 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
145 In Note and Chord mode, pitches may be designated by names. The default
146 names are the Dutch note names. The notes are specified by the letters
147 @code{a} through @code{g} (where the octave is formed by notes ranging
148 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
149 middle C and the letters span the octave above that C.
151 @cindex note names, Dutch
153 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
154 name. A flat is formed by adding @code{-es}. Double sharps and double
155 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
156 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
157 both forms are accepted.
159 LilyPond has predefined sets of notenames for various other languages.
160 To use them, simply include the language specific init file. For
161 example: @code{\include "english.ly"}. The available language files and
162 the names they define are:
165 Note Names sharp flat
166 nederlands.ly c d e f g a bes b -is -es
167 english.ly c d e f g a bf b -s/-sharp -f/-flat
168 deutsch.ly c d e f g a b h -is -es
169 norsk.ly c d e f g a b h -iss/-is -ess/-es
170 svenska.ly c d e f g a b h -iss -ess
171 italiano.ly do re mi fa sol la sib si -d -b
172 catalan.ly do re mi fa sol la sib si -d/-s -b
180 The optional octave specification takes the form of a series of
181 single quote (`@code{'}') characters or a series of comma
182 (`@code{,}') characters. Each @code{'} raises the pitch by one
183 octave; each @code{,} lowers the pitch by an octave.
185 @lilypond[fragment,verbatim,center]
186 c' c'' es' g' as' gisis' ais'
189 @c . {Defining pitch names}
190 @node Defining pitch names
191 @subsection Defining pitch names
193 @cindex defining pitch names
194 @cindex pitch names, defining
196 Note names and chord modifiers can be customised for nationalities. The
197 syntax is as follows.
199 @cindex @code{\pitchnames}
200 @cindex @code{\chordmodifiers}
202 \pitchnames @var{scheme-alist}
203 \chordmodifiers @var{scheme-alist}
206 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
207 specific examples how to do this.
213 @subsection Durations
217 @cindex @code{\duration}
219 The syntax for a verbose duration specification is
221 \duration @var{scmduration}
223 Here, @var{scmduration} is a Scheme object of type Duration. See
224 @ref{Duration} for more information.
227 In Note, Chord, and Lyrics mode, durations may be designated by numbers
228 and dots: durations are entered as their reciprocal values. For notes
229 longer than a whole note, use identifiers.
235 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
237 r1 r2 r4 r8 r16 r32 r64 r64
243 \notes \relative c'' {
244 a\longa a\breve \autoBeamOff
245 a1 a2 a4 a8 a16 a32 a64 a64
247 r1 r2 r4 r8 r16 r32 r64 r64
252 \remove "Clef_engraver";
253 \remove "Staff_symbol_engraver";
254 \remove "Time_signature_engraver";
255 \consists "Pitch_squash_engraver";
262 As you can see, the longa is not printed. To get a longa note head, you
263 have to use a mensural note heads. This is done accomplished by setting
264 the @code{style} property of the NoteHead grob to @code{mensural}.
266 If the duration is omitted then it is set to the previous duration
267 entered. At the start of parsing a quarter note is assumed. The
268 duration can be followed by a dot (`@code{.}') to obtain dotted note
272 @lilypond[fragment,verbatim,center]
278 You can alter the length of duration by appending
279 `@code{*}@var{fraction}'. This will not affect the appearance of the
280 notes or rests produced.
286 A note specification has the form
289 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
292 LilyPond will determine what accidentals to typeset depending on the key
293 and context. The alteration refers to what note is heard, not to whether
294 an accidental is printed. A reminder accidental
295 @cindex reminder accidental
297 can be forced by adding an exclamation mark @code{!} after the pitch. A
298 cautionary accidental,
299 @cindex cautionary accidental
300 i.e., an accidental within parentheses can be obtained by adding the
301 question mark `@code{?}' after the pitch.
303 @lilypond[fragment,verbatim,center]
304 cis' d' e' cis' c'? d' e' c'!
308 @node Easy Notation note heads
309 @subsection Easy Notation note heads
311 @cindex easy notation
314 A entirely different type of note head is the "easyplay" note head: a
315 note head that includes a note name. It is used in some publications by
316 Hal-Leonard Inc. music publishers.
318 @lilypond[singleline,verbatim]
319 \include "paper26.ly"
321 \notes { c'2 e'4 f' | g'1 }
322 \paper { \translator { \EasyNotation } }
326 Note that @code{EasyNotation} overrides a @code{Score} context. You
327 probably will want to print it with magnification to make it better
333 If you view the result with Xdvi, then staff lines will show through the
334 letters. Printing the postscript file obtained either by using dvips or
335 the @code{-f ps} option of lilypond will produce the desired result.
345 A tie connects two adjacent note heads of the same pitch. When used
346 with chords, it connects all of the note heads whose pitches match.
347 Ties are indicated using the tilde symbol `@code{~}'.
348 If you try to tie together chords which have no common pitches, a
349 warning message will appear and no ties will be created.
351 @lilypond[fragment,verbatim,center]
352 e' ~ e' <c' e' g'> ~ <c' e' g'>
355 If you dislike the amount of ties created for a chord, you set
356 @code{Thread.sparseTies} to true, resulting in a smaller number of
358 @lilypond[fragment,verbatim,center]
359 \property Thread.sparseTies = ##t
360 <c' e' g'> ~ <c' e' g'>
363 In its meaning a tie is just a way of extending a note duration, similar
364 to the augmentation dot: the following example are three ways of notating
365 exactly the same concept.
366 @lilypond[fragment, singleline]
372 At present, the tie is implemented as a separate thing, temporally
373 located in between the notes. There is also no way to convert
374 between tied notes, dotted notes and plain notes.
376 Tieing only a subset of the note heads of a chord is not supported in a
377 simple way. It can be achieved by moving the tie-engraver into Thread
378 context and turning off ties per Thread.
386 @cindex @code{\times}
388 Tuplets are made out of a music expression by multiplying their duration
391 @cindex @code{\times}
393 \times @var{fraction} @var{musicexpr}
396 The duration of @var{musicexpr} will be multiplied by the fraction.
397 In print, the fraction's denominator will be printed over the notes,
398 optionally with a bracket. The most common tuplet is the triplet in
399 which 3 notes have the length of 2, so the notes are 2/3 of
400 their written length:
402 @lilypond[fragment,verbatim,center]
403 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
406 The property @code{tupletSpannerDuration} specifies how long brackets
407 should last. With this, you can make lots of tuplets while typing
408 @code{\times} only once. This saves typing work when you must make lots
411 @lilypond[fragment, relative, singleline, verbatim]
412 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
413 \times 2/3 { c''8 c c c c c }
421 Rests are entered like notes, with note name `@code{r}'.
431 \skip @var{duration} @code{;}
436 Skips the amount of time specified by @var{duration}. If no other music
437 is played, a gap will be left for the skipped time with no notes
438 printed. The short hand is only available in Note and Chord mode.
443 @subsection Note mode
448 @cindex @code{\notes}
450 Note mode is the lexical mode generally used for inputting notes. The
456 This instructs the tokenizer to interpret @var{expr} in note mode. If a
457 a sequence of alfabetical characters, like @code{foobar}, LilyPond first
458 checks if @code{foobar} is a pitch name. If it is not a pitch name,
459 then it is treated as a string.
461 Numbers and dots indicate durations, so you can enter floating point
462 numbers in this mode.
466 @section Staff notation
468 @cindex Staff notation
478 @subsection Key signature
483 Changing the key signature is done with the @code{\key} command.
485 @code{\key} @var{pitch} @var{type} @code{;}
488 @cindex @code{\minor}
489 @cindex @code{\major}
490 @cindex @code{\minor}
491 @cindex @code{\ionian}
492 @cindex @code{\locrian}
493 @cindex @code{\aeolian}
494 @cindex @code{\mixolydian}
495 @cindex @code{\lydian}
496 @cindex @code{\phrygian}
497 @cindex @code{\dorian}
499 Here, @var{type} should be @code{\major} or @code{\minor} to get
500 @var{pitch}-major or @var{pitch}-minor, respectively. The second
501 argument is optional; the default is major keys. The @var{\context}
502 argument can also be given as an integer, which tells the number of
503 semitones that should be added to the pitch given in the subsequent
504 @code{\key} commands to get the corresponding major key, e.g.,
505 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
506 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
507 @code{\phrygian}, and @code{\dorian} are also defined.
509 This command sets context property @code{Staff.keySignature}.
511 @cindex @code{keySignature}
514 @subsection Clef changes
517 \clef @var{clefname} @code{;}
523 \property Staff.clefGlyph = @var{glyph associated with clefname}
524 \property Staff.clefPosition = @var{clef Y-position for clefname}
525 \property Staff.clefOctavation = @var{extra pitch of clefname}
528 Supported clef-names include
531 @item treble, violin, G, G2: G clef on 2nd line
532 @item french: G clef on 1st line
533 @item soprano: C clef on 1st line
534 @item mezzosoprano: C clef on 2nd line
535 @item alto: C clef on 3rd line
536 @item tenor: C clef on 4th line
537 @item baritone: C clef on 5th line
538 @item varbaritone: F clef on 3rd line
539 @item bass, F: F clef on 4th line
540 @item subbass: F clef on 5th line
541 @item percussion: percussion clef
544 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
547 @item clefs-C: modern style C clef
548 @item clefs-F: modern style F clef
549 @item clefs-G: modern style G clef
550 @item clefs-vaticana_do: Editio Vaticana style do clef
551 @item clefs-vaticana_fa: Editio Vaticana style fa clef
552 @item clefs-medicaea_do: Editio Medicaea style do clef
553 @item clefs-medicaea_fa: Editio Medicaea style fa clef
554 @item clefs-mensural1_c: modern style mensural C clef
555 @item clefs-mensural2_c: historic style small mensural C clef
556 @item clefs-mensural3_c: historic style big mensural C clef
557 @item clefs-mensural1_f: historic style traditional mensural F clef
558 @item clefs-mensural2_f: historic style new mensural F clef
559 @item clefs-mensural_g: historic style mensural G clef
560 @item clefs-hufnagel_do: historic style hufnagel do clef
561 @item clefs-hufnagel_fa: historic style hufnagel fa clef
562 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
563 @item clefs-percussion: modern style percussion clef
566 @emph{Modern style} means ``as is typeset in current editions.''
567 @emph{Historic style} means ``as was typeset or written in contemporary
568 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
571 @cindex Vaticana, Editio
572 @cindex Medicaea, Editio
573 @cindex hufnagel clefs
576 @c . {Time signature}
578 @subsection Time signature
579 @cindex Time signature
583 The time signature is changed by the @code{\time} command. Syntax:
585 \time @var{numerator}@code{/}@var{denominator} @code{;}
587 Internally, this is a short-cut for doing
589 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
592 [TODO: discuss options for layout]
599 @cindex partial measure
600 @cindex measure, partial
601 @cindex shorten measures
602 @cindex @code{\partial}
604 Partial measures are entered using the @code{\partial} command:
606 \partial @var{duration} @code{;}
609 Internally, this is a short cut for
612 \property Score.measurePosition = -@var{length of duration}
618 @subsection Bar lines
622 @cindex measure lines
629 This is a short-cut for doing
631 \property Score.whichBar = @var{bartype}
634 You are encouraged to use @code{\repeat} for repetitions. See
635 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
639 @cindex Bar_line_engraver
641 @cindex repeatCommands
642 @cindex defaultBarType
644 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
645 @code{whichBar} at every moment. Whenever it is set to a string, it will
646 create a bar with that type. @code{whichBar} is usually set
647 automatically: at the start of a measure it is set to
648 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
649 override default measure bars.
651 @code{whichBar} can also be set directly, using @code{\property} or
652 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
661 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
662 which contexts to instantiate.]
666 @cindex @code{\shiftOff}
667 @item @code{\shiftOff}
668 Disable horizontal shifting of note heads that collide.
670 @cindex @code{\shiftOn}
671 @item @code{\shiftOn}
672 Enable note heads that collide with other note heads to be
673 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
674 set different shift values.
676 @cindex @code{\stemBoth}
677 @item @code{\stemBoth}
678 Allow stems and beams to point either upwards or
679 downwards, decided automatically by LilyPond.
681 @cindex @code{\stemDown}
682 @item @code{\stemDown}
683 Force stems and beams to point down.
685 @cindex @code{\stemUp}
687 Force stems and beams to point up.
690 @cindex @code{\slurBoth}
691 @cindex @code{\slurDown}
692 @cindex @code{\slurUp}
693 Similarly, for slurs use
697 @cindex @code{\slurBoth}
698 @cindex @code{\slurDown}
699 @cindex @code{\slurUp}
709 Beams are used to group short notes into chunks that are aligned with
710 the metrum. LilyPond guesses where beams should be inserted, but if
711 you're not satisfied with the automatic beaming, you can either instruct
712 lilypond which patterns to beam automatically. In specific cases, you
713 can also specify explicitly what to beam and what not.
716 @c . {Automatic beams}
717 @subsection Automatic beams
719 @cindex @code{Voice.autoBeamSettings}
720 @cindex @code{(end * * * *)}
721 @cindex @code{(begin * * * *)}
723 A large number of Voice properties are used to decide how to generate
724 beams. Their default values appear in @file{scm/auto-beam.scm}.
726 By default, automatic beams can start on any note@footnote{In exotic
727 time signatures such as 1/8 and 1/16 this is not true} but can only end
728 in a few positions within the measure: they can end on a beat, or at
729 durations specified by the properties in
730 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
731 are defined in @file{scm/auto-beam.scm}.
733 The syntax for changing the value @code{autoBeamSettings} is set using
734 @code{\override} and unset using @code{\revert}:
736 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
737 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
739 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
740 whether the rule applies to begin or end-points. The quantity
741 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
742 designate all time signatures), @var{P}/@var{Q} refers to the length of
743 the beamed notes (@code{* *} designate notes of any length).
745 If you want automatic beams to end on every quarter note, you can
748 \property Voice.autoBeamSettings \override
749 #'(end * * * *) = #(make-moment 1 4)
751 The duration a quarter note is 1/4 of a whole note. It is entered as
752 @code{(make-moment 1 4)}.
754 The same syntax can be used to specify beam starting points. In this
755 example, you automatic beams can only end on a dotted quarter note.
757 \property Voice.autoBeamSettings \override
758 #'(begin * * * *) = #(make-moment 3 8)
760 In 4/4 time signature, this means that automatic beams could end only on
761 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
762 3/8 has passed within the measure).
764 You can also restrict rules to specific time signatures. A rule that
765 should only be applied in @var{N}/@var{M} time signature is formed by
766 replacing the first asterisks by @var{N} and @var{M}. For example, a
767 rule for 6/8 time exclusively looks like
769 \property Voice.autoBeamSettings \override
770 #'(begin 6 8 * *) = ...
773 If you want a rule to apply to certain types of beams, you can use the
774 second pair of asterisks. Beams are classified according to the shortest
775 note they contain. For a beam ending rule that only applies to beams
776 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
779 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
781 Automatic beams can not be put on the last note in a score.
783 @cindex automatic beam generation
785 @cindex @code{Voice.noAutoBeaming}
787 Automatic beaming is on by default, but it can switched off by setting
788 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
789 a melody that goes with lyrics.
792 @cindex Automatic beams
793 @subsection Manual beams
794 @cindex beams, manual
798 In some cases it may be necessary to override LilyPond's automatic
799 beaming algorithm. For example, the auto beamer will not beam over
800 rests or bar lines, so if you want that, specify the begin and end point
801 manually using @code{[} and @code{]}:
804 @lilypond[fragment,relative,verbatim]
806 r4 [r8 g'' a r8] r8 [g | a] r8
809 Whenever an manual beam is busy, the auto beam will not produce
812 @cindex @code{stemLeftBeamCount}
814 If you have specific wishes for the number of beams, you can fully
815 control the number of beams through the properties
816 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
818 @lilypond[fragment,relative,verbatim]
821 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
825 @cindex @code{stemRightBeamCount}
828 [TODO: explain common tweaks.]
831 @node Expressive marks
832 @section Expressive marks
846 A slur indicates that notes are to be played bound or @emph{legato}. In
847 lilypond, they are entered using parentheses:
848 @lilypond[fragment,verbatim,center]
849 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
853 Slurs avoid crossing stems, and are attached to note heads whenever
854 possible. In some instances involving beams slurs may be attached to a
855 stem end. If you want to override this layout you can do this through
856 @code{Voice.Slur}'s grob-property @code{attachment}:
858 Maybe reinclude other slur features and move back to tricks? Esp. the
859 second example, how to fix, can be very helpful.
862 @lilypond[fragment,relative,verbatim]
863 \property Voice.Slur \set #'direction = #1
864 \property Voice.Stem \set #'length = #5.5
866 \property Voice.Slur \set #'attachment = #'(stem . stem)
871 If a slur would strike through a stem or beam, the slur will be moved
872 away upward or downward. If this happens, attaching the slur to the
873 stems might look better:
876 @lilypond[fragment,relative,verbatim]
877 \property Voice.Stem \set #'direction = #1
878 \property Voice.Slur \set #'direction = #1
880 \property Voice.Slur \set #'attachment = #'(stem . stem)
886 Similarly, the curvature of a slur is adjusted to stay clear of note
887 heads and stems. When that would increase the curvature too much, the
888 slur is reverted to its default shape. The threshold for this decision
889 is in @code{Voice.Slur}'s grob-property @code{beautiful}. In some
890 cases, you may prefer curved slurs to vertically moved ones. You can
891 express this by increasing the @code{beautiful} value:
893 [hoe gedefd?? wat betekent beautiful = X?]
895 [dit voorbeeld is te lang: junken, of inkorten]
898 @lilypond[verbatim,singleline]
900 \notes \context PianoStaff <
902 \context Staff=up { s1 * 6/4 }
903 \context Staff=down <
905 \autochange Staff \context Voice
907 d,8( a' d f a d f d a f d )a
914 Slur \override #'beautiful = #5.0
915 Slur \override #'direction = #1
916 Stem \override #'direction = #-1
917 autoBeamSettings \override #'(end * * * *)
922 VerticalAlignment \override #'threshold = #'(5 . 5)
929 @cindex Adusting slurs
932 @subsection Phrasing slur
934 @cindex phrasing slur
935 @cindex phrasing mark
937 A phrasing slur (or phrasing mark) connects chords and is used to
938 indicate a musical sentence. It is entered using @code{\(} and
941 @lilypond[fragment,verbatim,center,relative]
942 \time 6/4; c''\((d)e f(e)\)d
945 Typographically, the phrasing slur behaves almost exactly like a normal
946 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
949 @subsection Breath marks
951 Breath marks are entered using @code{\breathe}:
953 @lilypond[fragment,relative]
957 Currently, only tick marks are supported, comma style breath marks are
958 not. The grob for this object is called @code{Voice.BreathingSign}.
963 Currently, only tick marks are supported, comma style breath marks are
971 @cindex beats per minute
972 @cindex metronome marking
974 @cindex @code{\tempo}
976 \tempo @var{duration} = @var{perminute} @code{;}
979 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
980 output with 76 quarter notes per minute.
984 The tempo setting is not printed, but is currently only used in the MIDI
990 @subsection Text spanner
993 Some textual indications, e.g. rallentando, accelerando, often extend
994 over a many measures. This is indicated by following the text with a
995 dotted line. You can create such texts in LilyPond using
996 text spanners. The syntax is as follows:
998 \spanrequest \start "text"
999 \spanrequest \stop "text"
1001 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1002 string to be printed, as well as the style is set through grob
1005 An application---or rather, a hack---is to fake octavation indications.
1006 @lilypond[fragment,relative,verbatim]
1007 \relative c' { a'''' b c a
1008 \property Voice.TextSpanner \set #'type = #'dotted-line
1009 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1010 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1011 \property Staff.centralCPosition = #-13
1012 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1028 @subsection Articulation
1029 @cindex Articulation
1031 @cindex articulations
1035 A variety of symbols can appear above and below notes to indicate
1036 different characteristics of the performance. These symbols can be
1037 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1038 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1039 forced to appear above or below the note by writing
1040 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1041 respectively. Here is a chart showing symbols above notes, with the
1042 name of the corresponding symbol appearing underneath.
1047 \property Score.LyricSyllable \override #'font-family =
1049 \property Score.LyricSyllable \override #'font-shape = #'upright
1050 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1051 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1052 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1053 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1054 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1055 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1056 c''-\thumb c''-\segno c''-\coda
1058 \context Lyrics \lyrics {
1059 accent__ marcato__ staccatissimo__ fermata
1060 stopped__ staccato__ tenuto__ upbow
1061 downbow__ lheel__ rheel__ ltoe
1062 rtoe__ turn__ open__ flageolet
1063 reverseturn__ trill__ prall__ mordent
1064 prallprall__ prallmordent__ uprall__ downprall
1065 thumb__ segno__ coda
1069 linewidth = 5.875\in;
1075 To save typing work, some shorthands are available:
1076 @lilypond[singleline]
1078 \notes \context Voice {
1079 \property Voice.TextScript \set #'font-family = #'typewriter
1080 \property Voice.TextScript \set #'font-shape = #'upright
1086 c''4-^_"c-\\^{ }" s4
1093 Fingering instructions can also be entered in this shorthand.
1094 @lilypond[verbatim, singleline, fragment]
1095 c'4-1 c'4-2 c'4-3 c'4-4
1099 @cindex @code{\script}
1108 Defines a script printing request. The argument is a string which
1109 points into the script-alias table defined in @file{scm/script.scm}.
1110 Usually the @code{\script} keyword is not used directly. Various
1111 helpful identifier definitions appear in @file{script.ly}.
1113 For information on how to add scripts, consult @file{scm/script.scm}.
1118 All of these note ornaments appear in the printed output but have no
1119 effect on the MIDI rendering of the music.
1121 Unfortunately, there is no support adding fingering instructions or
1122 ornaments to individual note heads. Some hacks exist, though. See
1123 @file{input/test/script-horizontal.ly}.
1128 @subsection Text scripts
1129 @cindex Text scripts
1131 In addition, it is possible to place arbitrary strings of text or markup
1132 text (see @ref{Text markup}) above or below notes by using a string:
1133 @code{c^"text"}. The text is typeset in italic by default.
1135 The amount of space taken by these indications by default does not
1136 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1137 take the widths into account. The identifier @code{\fattext} is defined
1138 in the standard includes.
1139 @lilypond[fragment,singleline,verbatim]
1140 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1143 Text scripts are created in form of @code{Voice.TextScript} grobs.
1145 For purposes of defining identifiers, a more verbose form also exists:
1148 \textscript @var{text}
1151 Defines a text to be printed over or under a note. @var{text} is a
1152 string or a markup text.
1156 foo = \textscript #'(finger "6")
1163 This is equivalent to @code{c4-6 c4-"foo"}.
1168 @subsection Grace notes
1177 @cindex @code{\grace}
1180 @cindex @code{graceAlignPosition}
1182 Grace notes are ornaments that are written out, but do not take up any
1183 logical time in a measure. LilyPond has limited support for grace notes.
1184 The syntax is as follows.
1186 \grace @var{musicexpr}
1189 When grace music is interpreted, a score-within-a-score is set up:
1190 @var{musicexpr} has its own time bookkeeping, and you could (for
1191 example) have a separate time signature within grace notes. While in
1192 this score-within-a-score, you can create notes, beams, slurs, etc.
1193 Unbeamed eighth notes and shorter by default have a slash through the
1194 stem. This behavior can be controlled with the
1195 @code{Stem}.@code{flag-style} property.
1198 @lilypond[fragment,verbatim]
1200 \grace c8 c4 \grace { [c16 c16] } c4
1201 \grace { \property Grace.Stem \override #'flag-style = ##f c16 } c4
1208 At present, nesting @code{\grace} notes is not supported. The following
1209 may cause run-time errors:
1211 @code{\grace @{ \grace c32 c16 @} c4}
1213 Since the meaning of such a construct is unclear, we don't consider this
1214 a loss. Similarly, juxtaposing two @code{\grace} sections is
1215 syntactically valid, but makes no sense and may cause runtime errors.
1216 Ending a staff or score with grace notes may also generate a run-time
1217 error, since there will be no main note to attach the grace notes to.
1220 A grace note expression has duration 0; the next real note is assumed to
1221 be the main note. If you want the note to appear after the main note,
1222 set @code{Voice.graceAlignPosition} to @code{1}.
1226 The present implementation of grace notes is not robust and generally
1227 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1228 also be implemented.
1241 @subsubsection Glissando
1244 @cindex @code{\glissando}
1246 A glissando line can be requested by attaching a @code{\glissando} to a
1250 @lilypond[fragment,relative,verbatim]
1257 Printing of an additional text (such as @emph{gliss.}) must be done
1264 @subsubsection Dynamics
1277 @cindex @code{\ffff}
1287 Absolute dynamic marks are specified by using an identifier after a
1288 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1289 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1290 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1291 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1294 @cindex Crescendo and Decrescendo
1298 @cindex @code{\decr}
1299 @cindex @code{\rced}
1305 A crescendo mark is started with @code{\cr} and terminated with
1306 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1307 started with @code{\decr} and terminated with @code{\rced}. There are
1308 also shorthands for these marks. A crescendo can be started with
1309 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1310 can be terminated with @code{\!}. Note that @code{\!} must go before
1311 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1312 after the last note. Because these marks are bound to notes, if you
1313 want to get several marks during one note, you must use spacer notes.
1315 @lilypond[fragment,verbatim,center]
1316 c'' \< \! c'' d'' \decr e'' \rced
1317 < f''1 { s4 \< \! s2 \> \! s4 } >
1322 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1323 is an example how to do it:
1325 @lilypond[fragment,relative,verbatim]
1327 \property Voice.crescendoText = "cresc."
1328 \property Voice.crescendoSpanner = #'dashed-line
1344 @cindex @code{\repeat}
1346 To specify repeats, use the @code{\repeat} keyword. Since repeats
1347 should work differently when played or printed, there are a few
1348 different variants of repeats.
1352 Repeated music is fully written (played) out. Useful for MIDI
1356 This is the normal notation: Repeats are not written out, but
1357 alternative endings (voltas) are printed, left to right.
1360 Alternative endings are written stacked. Which is unfortunately not
1361 practical for anything right now.
1367 Make measure repeats. These look like percent signs.
1373 * Manual repeat commands::
1375 * Tremolo subdivision::
1380 @subsection Repeat syntax
1382 The syntax for repeats is
1385 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1388 If you have alternative endings, you may add
1389 @cindex @code{\alternative}
1391 \alternative @code{@{} @var{alternative1}
1393 @var{alternative3} @dots{} @code{@}}
1395 where each @var{alternative} is a music expression.
1397 Normal notation repeats are used like this:
1398 @lilypond[fragment,verbatim]
1400 \repeat volta 2 { c'4 d' e' f' }
1401 \repeat volta 2 { f' e' d' c' }
1404 With alternative endings:
1406 @lilypond[fragment,verbatim]
1408 \repeat volta 2 {c'4 d' e' f'}
1409 \alternative { {d'2 d'} {f' f} }
1413 Folded repeats look like this:@footnote{Folded repeats offer little
1414 more over simultaneous music. However, it is to be expected that
1415 more functionality -- especially for the MIDI backend -- will be
1416 implemented at some point in the future.}
1419 @lilypond[fragment,verbatim]
1421 \repeat fold 2 {c'4 d' e' f'}
1422 \alternative { {d'2 d'} {f' f} }
1428 If you don't give enough alternatives for all of the repeats, then
1429 the first alternative is assumed to be repeated often enough to equal
1430 the specified number of repeats.
1433 @lilypond[fragment,verbatim]
1437 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1438 \alternative { { g4 g g } { a | a a a a | b2. } }
1446 As you can see, LilyPond doesn't remember the timing information, nor
1447 are slurs or ties repeated, so you have to reset timing information
1448 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1449 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1452 It is possible to nest @code{\repeat}, although it probably is only
1453 meaningful for unfolded repeats.
1455 @node Manual repeat commands
1456 @subsection Manual repeat commands
1458 @cindex @code{repeatCommands}
1460 The property @code{repeatCommands} can be used to control the layout of
1461 repeats. Its value is a Scheme list of repeat commands, where each repeat
1469 @item (volta . @var{text})
1470 Print a volta bracket saying @var{text}.
1472 Stop a running volta bracket
1475 @lilypond[verbatim, fragment]
1477 \property Score.repeatCommands = #'((volta "93") end-repeat)
1479 \property Score.repeatCommands = #'((volta #f))
1484 @node Tremolo repeats
1485 @subsection Tremolo repeats
1486 @cindex tremolo beams
1488 To place tremolo marks between notes, use @code{\repeat} with tremolo
1490 @lilypond[verbatim,center,singleline]
1492 \context Voice \notes\relative c' {
1493 \repeat "tremolo" 8 { c16 d16 }
1494 \repeat "tremolo" 4 { c16 d16 }
1495 \repeat "tremolo" 2 { c16 d16 }
1496 \repeat "tremolo" 4 c16
1504 At present, the spacing between tremolo beams is not regular, since the
1505 spacing engine does not notice that not all notes are printed.
1507 @node Tremolo subdivision
1508 @subsection Tremolo subdivision
1509 @cindex tremolo marks
1510 @cindex @code{tremoloFlags}
1512 Tremolo marks can be printed on a single note by adding
1513 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1514 A @var{length} value of 8 gives one line across the note stem. If the
1515 length is omitted, then then the last value (stored in
1516 @code{Voice.tremoloFlags}) is used.
1518 @lilypond[verbatim,fragment,center]
1521 Using this mechanism pays off when you entering many tremolos, since the
1522 default argument saves a lot of typing.
1527 Tremolos in this style do not carry over into the MIDI output.
1530 @node Measure repeats
1531 @subsection Measure repeats
1533 @cindex percent repeats
1534 @cindex measure repeats
1536 In the @code{percent} style, a note pattern can be repeated. It is
1537 printed once, and then the pattern is replaced with a special sign.
1539 @lilypond[verbatim,singleline]
1540 \context Voice { \repeat "percent" 5 { c'1 } }
1543 At present, only repeats of whole measures are supported.
1545 @node Rhythmic music
1546 @section Rhythmic music
1553 @node Rhythmic staffs
1554 @subsection Rhythmic staffs
1556 Some times you might want to show only the rhythm of a melody. This can
1557 be done with the rhythmic staff. All pitches of notes on such a staff
1558 are squashed, and the staff itself looks has a single staff line:
1560 @lilypond[fragment,relative ]
1561 \context RhythmicStaff {
1563 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1569 [TODO: explain perc notation, if it's finished in time.]
1575 @section Piano music
1577 Piano music is an odd type of notation: two staffs are largely
1578 independent, but sometimes voices can cross between the two staffs. The
1579 @code{PianoStaff} is especially built to handle this cross-staffing
1580 behavior. In this section we discuss the @code{PianoStaff} and some
1581 other pianistic peculiarities.
1584 * Automatic staff changes::
1585 * Manual staff switches::
1592 @c . {Automatic staff changes}
1593 @node Automatic staff changes
1594 @subsection Automatic staff changes
1595 @cindex Automatic staff changes
1597 Voices can be switched from top to bottom staff automatically. The
1600 \autochange @var{contexttype} @var{musicexp}
1602 This will switch notation context of @var{musicexp} between a
1603 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1604 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1605 of pitch (central C is the turning point), and it looks ahead skipping
1606 over rests to switch rests in advance.
1608 @lilypond[verbatim,singleline]
1609 \score { \notes \context PianoStaff <
1610 \context Staff = "up" {
1611 \autochange Staff \context Voice = VA < \relative c' {
1612 g4 a b c d r4 a g } > }
1613 \context Staff = "down" {
1619 Note how spacer rests are used to prevent the bottom staff from
1620 terminating too soon.
1623 @node Manual staff switches
1624 @subsection Manual staff switches
1626 @cindex manual staff switches
1627 @cindex staff switch, manual
1629 Voices can be switched between staffs manually, using the following command:
1631 \translator Staff = @var{which} @var{music}
1633 The string @var{which} is the name of the staff. Typically it is
1634 @code{"up"} or @code{"down"}.
1636 Formally, this construct is a music expression indicating that the
1637 context which is a direct child of the a context of type
1638 @var{contexttype} should be shifted to a context of type
1639 @var{contexttype} and the specified name.
1641 @cindex @code{\translator}
1643 \translator @var{contexttype} = @var{name}
1652 Piano pedal instruction can be expressed using
1653 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1654 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1656 These identifiers are short hands for spanner commands of the types
1657 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1659 @lilypond[fragment,verbatim]
1660 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1663 The symbols that are printed can be modified by setting
1664 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1665 types. Refer to the generated documentation for more information.
1670 Currently, brackets are not supported, only text markings (ie. *Ped
1676 @subsection Arpeggio
1679 @cindex broken arpeggio
1680 @cindex @code{\arpeggio}
1682 You can specify an arpeggio sign on a chord by attaching an
1683 @code{\arpeggio} to a note of the chord.
1687 @lilypond[fragment,relative,verbatim]
1688 \context Voice <c'\arpeggio e g c>
1692 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1693 to the chords in both staffs, and set
1694 @code{PianoStaff.connectArpeggios}.
1697 @lilypond[fragment,relative,verbatim]
1698 \context PianoStaff <
1699 \property PianoStaff.connectArpeggios = ##t
1700 \context Voice = one { <c''\arpeggio e g c> }
1701 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1706 This command creates @code{Arpeggio} grobs.
1710 It is not possible to mix
1711 connected arpeggios and unconnected arpeggios at the same time.
1714 @c . {Follow Thread}
1716 @subsection Follow Thread
1718 @cindex follow thread
1719 @cindex staff switching
1722 [todo: figure out different name, eg. voice line, switch indicator ? ]
1724 @cindex @code{followThread}
1726 Whenever a voice switches to another staff a line connecting the notes
1727 can be printed automatically. This is enabled if the property
1728 @code{PianoStaff.followThread} is set to true:
1731 @lilypond[fragment,relative,verbatim]
1732 \context PianoStaff <
1733 \property PianoStaff.followThread = ##t
1734 \context Staff \context Voice {
1736 \translator Staff=two
1739 \context Staff=two {\clef bass; \skip 1*2;}
1753 * Automatic syllable durations::
1759 @subsection Lyrics mode
1762 To print lyrics in LilyPond, you must first make a music expression from
1763 the lyric text. When they're in a music expression, that music
1764 expression can be printed by selecting an appropriate context. We shall
1765 discuss lyric printing in this order.
1769 @cindex @code{\lyrics}
1771 You can enter lyrics in a special input mode of LilyPond. This mode is
1772 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1773 The purpose of this mode is that you can enter lyrics as plain text,
1774 punctuation and accents without any hassle.
1776 The precise definition of this mode is in @ref{Lyrics mode
1777 definition}. The definition itself is ludicrous, and this will remain so
1778 until the authors of LilyPond acquire a deeper understanding of
1779 character encoding, or someone else steps up to fix this.
1781 Syllables are entered like notes, with pitches replaced by text. For
1782 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1783 the hyphen has no special meaning for lyrics, and does not introduce
1786 Spaces can be introduced into a lyric either by using quotes
1787 (@code{"}) or by using an underscore without quotes: @code{He_could4
1788 not4}. All unquoted underscores are converted to spaces.
1790 @c . {Printing lyrics}
1791 @node Printing lyrics
1792 @subsection Printing lyrics
1795 Normally, you will want to have notes and syllables matched
1796 automatically. This is accomplished using @code{\addlyrics}, which is
1797 documented in @ref{Automatic syllable durations}. Setting
1798 @code{automaticMelismata} in the melody staff, will cause slurs to be
1799 interpreted as melismata. Lyric syllables must be interpreted within a
1800 @code{Lyrics} context in order to printing them.
1802 @lilypond[verbatim,singleline]
1803 \addlyrics \notes \relative c' {
1805 \property Staff.automaticMelismata = ##t
1808 \context Lyrics \lyrics {
1810 share the so -- ftware; }
1814 @cindex lyric extender
1817 As you can see, extender lines are entered as @code{__}. This will
1818 create an extender, a line that extends over the entire duration of the
1819 lyric. This line will run all the way to the start of the next lyric,
1820 so you may want to shorten it by using a blank lyric (using @code{_}).
1824 If you want to have hyphens centered between syllables (rather than
1825 attached to the end of the first syllable) you can use the special
1826 `@code{-}@code{-}' lyric as a separate word between syllables. This
1827 will result in a hyphen which length varies depending on the space
1828 between syllables, and which will be centered between the syllables.
1830 @cindex Lyric hyphen
1832 @node Automatic syllable durations
1833 @subsection Automatic syllable durations
1834 @cindex Automatic syllable durations
1836 @cindex automatic lyric durations
1837 @cindex @code{\addlyrics}
1839 If you have lyrics that are set to a melody, you can import the rhythm
1840 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1843 \addlyrics @var{musicexpr1 musicexpr2}
1846 This means that both @var{musicexpr1} and @var{musicexpr2} are
1847 interpreted, but that every non-command atomic music expression
1848 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1849 of @var{musicexpr1}.
1850 @cindex @code{automaticMelismata}
1852 If the property @code{automaticMelismata} is set in the
1853 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1856 @lilypond[verbatim,fragment]
1859 \property Voice.automaticMelismata = ##t
1860 c8 () cis d8. e16 f2
1862 \context Lyrics \lyrics {
1866 If you want the lyric lines to be above the melody staff, or in some
1867 other, more complex configuration, then build that configuration first
1868 using simultaneous music, and use @code{\addlyrics} after that.
1870 @lilypond[verbatim, singleline]
1872 \context Lyrics = LA { s1 }
1873 \context Staff = SA { s1 }
1875 \context Staff = SA \relative c' { c4 e g g }
1876 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1879 For @code{\addlyrics} you should use a single rhythm melody, and single
1880 rhythm lyrics (a constant duration is the obvious choice). If you do
1881 not, you can get undesired effects when using multiple stanzas:
1883 @lilypond[verbatim,fragment]
1886 c8 () cis d8. e16 f2
1888 \context Lyrics \lyrics
1893 It is valid (but probably not very useful) to use notes instead of
1894 lyrics for @var{musicexpr2}.
1897 @subsection More stanzas
1901 If you have multiple stanzas printed underneath each other, the separate
1902 syllables should be aligned around punctuation. LilyPond can do this if
1903 you explain it which lyric lines belong to which melody.
1905 To this end, give the Voice context an identity, and set the LyricsVoice
1906 to name starting with that identity. In the following example, the Voice
1907 identity is @code{duet}, and the identities of the LyricsVoices are
1908 @code{duet-1} and @code{duet-2}.
1911 @lilypond[singleline,verbatim]
1914 \notes \relative c'' \context Voice = duet { \time 3/4;
1916 \lyrics \context Lyrics <
1917 \context LyricsVoice = "duet-1" {
1918 \property LyricsVoice . stanza = "Bert"
1919 Hi, my name is bert. }
1920 \context LyricsVoice = "duet-2" {
1921 \property LyricsVoice . stanza = "Ernie"
1922 Ooooo, ch\'e -- ri, je t'aime. }
1927 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1928 first system) and @code{LyricsVoice.stz} for the following systems.
1930 @cindex stanza numbering
1938 LilyPond has support for both entering and printing chords. Chords are
1939 a harmonic device that is characterized by a set of pitches. It is
1940 something different from simultaneous music, although you can express a
1941 chord using simultaneous music. In fact, chords are internally stored as
1942 simultaneous music expressions. This means you can enter chords by name,
1943 and print them as note head, or enter as notes and print as chord names:
1946 @lilypond[verbatim,singleline]
1947 twoWays = \notes \transpose c'' {
1957 < \context ChordNames \twoWays
1958 \context Staff \twoWays > }
1961 Note that this example also shows that the LilyPond chord does not
1962 attempt to be intelligent, if you enter @code{f bes d}, it does no
1963 attempt to find out whether it this is an inversion.
1967 * Printing named chords::
1972 @subsection Chords mode
1975 Chord mode is a mode where you can input sets of pitches using common
1976 names. It is introduced by the keyword @code{\chords}. It is similar
1977 to note mode, but words are also looked up in a chord modifier table
1978 (containing @code{maj}, @code{dim}, etc).
1980 Dashes and carets are used to indicate chord additions and subtractions,
1981 so articulation scripts can not be entered in Chord mode.
1983 The syntax for named chords is as follows:
1986 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1989 @var{tonic} should be the tonic note of the chord, and @var{duration}
1990 is the chord duration in the usual notation. There are two kinds of
1991 modifiers. One type is @emph{chord additions}, which are obtained by
1992 listing intervals separated by dots. An interval is written by its
1993 number with an optional @code{+} or @code{-} to indicate raising or
1994 lowering by half a step. Chord additions has two effects: It adds
1995 the specified interval and all lower odd numbered intervals to the
1996 chord, and it may lower or raise the specified interval. Intervals
1997 must be separated by a dot (@code{.}).
1999 Throughout these examples, chords have been shifted around the staff
2000 using @code{\transpose}.
2005 @lilypond[fragment,verbatim]
2009 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2021 The second type of modifier that may appear after the @code{:} is a
2022 named modifier. Named modifiers are listed in the file
2023 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2024 @code{min} which lower the 3rd half a step, `@code{aug}' which
2025 raises the 5th, `@code{dim}' which lowers the 5th,
2026 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2027 which replaces the 5th with a 4th.
2031 @lilypond[fragment,verbatim]
2034 c1:m c:min7 c:maj c:aug c:dim c:sus
2042 Chord subtractions are used to eliminate notes from a chord. The
2043 notes to be subtracted are listed after a @code{^} character,
2046 @lilypond[fragment,verbatim,center]
2055 Chord inversions can be specified by appending `@code{/}' and the name
2056 of a single note to a chord. In a chord inversion, the inverted note is
2057 transposed down until it is the lowest note in the chord. If the
2058 specified note is not in the chord, a warning will be printed.
2060 @lilypond[fragment,verbatim,center]
2070 Bass notes can be added by `@code{/+}' and
2071 the name of a single note to a chord. This has the effect of
2072 adding the specified note to the chord, lowered by an octave,
2073 so it becomes the lowest note in the chord.
2075 @lilypond[fragment,verbatim,center]
2087 @c . {Printing named chords}
2088 @node Printing named chords
2089 @subsection Printing named chords
2091 @cindex printing chord names
2094 @cindex @code{ChordNames}
2097 For displaying printed chord names, use the @code{ChordNames} context.
2098 The chords may be entered either using the notation described above, or
2099 directly using simultaneous music.
2102 @lilypond[verbatim,singleline]
2104 \chords {a1 b c} <d f g> <e g b>
2108 \context ChordNames \scheme
2109 \context Staff \transpose c'' \scheme
2115 You can make the chord changes stand out by setting property
2116 @code{ChordNames.chordChanges} to true. This will only display chord
2117 names when there's a change in the chords scheme and at the start of the
2123 c1:m \break c:m c:m c:m d
2128 \context ChordNames {
2129 \property ChordNames.chordChanges = ##t
2131 \context Staff \transpose c'' \scheme
2136 LilyPond examines chords specified as lists of notes to determine a name
2137 to give the chord. LilyPond will not try to identify chord inversions or
2138 added base, which may result in strange chord names when chords are
2139 entered as a list of pitches:
2144 @lilypond[verbatim,center,singleline]
2153 \context ChordNamesVoice \scheme
2154 \context Staff \scheme
2161 By default LilyPond uses chord name system proposed by Harald Banter
2162 (See @ref{Literature}). The system is is unambiguous and has a logical
2163 structure. Typical American style chord names may be selected by
2164 setting the @code{style} property of the @code{ChordNames.ChordName}
2165 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2168 Routines that determine the names to be printed are written in Scheme,
2169 and may be customized by the user. The code can be found in
2170 @file{scm/chord-name.scm}.
2172 [3 short examples showing differences between american, banter and jazz]
2175 @section Writing parts
2177 Orchestral music involves some special notation, both in the full score,
2178 as in the individual parts. This section explains how to tackle common
2179 problems in orchestral music.
2186 * Instrument names::
2188 * Sound output for transposing instruments::
2189 * Multi measure rests::
2190 * Automatic part combining::
2191 * Hara-kiri staffs::
2194 @c . {Rehearsal marks}
2195 @node Rehearsal marks
2196 @subsection Rehearsal marks
2197 @cindex Rehearsal marks
2199 @cindex @code{\mark}
2200 @cindex @code{Mark_engraver}
2203 \mark @var{unsigned};
2208 With this command, you can print a rehearsal mark above the system. You
2209 can provide a number, a string or a markup text as argument. If there is
2210 no argument, the property @code{rehearsalMark} is used and automatically
2213 @lilypond[fragment,verbatim]
2219 c1 \mark #'(music "scripts-segno") ;
2225 @subsection Bar numbers
2227 Bar numbers are printed at the start of the line by default. This is
2228 done by the @code{Bar_number_engraver} in the Score context.
2232 It is currently not possible to make boxed bar numbers, or print them at
2236 @node Instrument names
2237 @subsection Instrument names
2239 You can specify an instrument name for a staff by setting
2240 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2241 before the start of the staff. For the first start, @code{instrument} is
2242 used, for the next ones @code{instr} is used.
2244 @lilypond[verbatim,singleline]
2246 \property Staff.instrument = "ploink " { c''4 } }
2248 \translator { \StaffContext
2249 \consists "Instrument_name_engraver"; } } }
2252 This requires that you add the @code{Instrument_name_engraver} to the
2257 @subsection Transpose
2259 @cindex transposition of pitches
2260 @cindex @code{\transpose}
2262 A music expression can be transposed with @code{\transpose}. The syntax
2265 \transpose @var{pitch} @var{musicexpr}
2268 This means that middle C in @var{musicexpr} is transposed to
2271 @code{\transpose} distinguishes between enharmonic pitches: both
2272 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2273 a tone. The first version will print sharps and the second version
2277 @lilypond[fragment,verbatim]
2280 { \key e \major; c d e f }
2282 \transpose des'' { \key e \major; c d e f }
2283 \transpose cis'' { \key e \major; c d e f }
2289 If you want to use both @code{\transpose} and @code{\relative}, then
2290 you must use @code{\transpose} first. @code{\relative} will have no
2291 effect music that appears inside a @code{\transpose}.
2293 @node Sound output for transposing instruments
2294 @subsection Sound output transposing instruments
2296 When you want to play a score containing transposed and untransposed
2297 instruments, you have to instruct LilyPond the pitch offset (in
2298 semitones) for the transposed instruments. This is done using the
2299 @code{transposing} property. It does not affect printed output.
2301 @cindex @code{transposing}
2304 \property Staff.instrument = #"Cl. in B-flat"
2305 \property Staff.transposing = #-2
2309 @c . {Multi measure rests}
2310 @node Multi measure rests
2311 @subsection Multi measure rests
2312 @cindex Multi measure rests
2316 Multi measure rests are entered using `@code{R}'. It is specifically
2317 meant for entering parts: the rest can expand to fill a score with
2318 rests, or it can be printed as a single multimeasure rest This expansion
2319 is controlled by the property @code{Score.skipBars}. If this is set to true,
2320 Lily will not expand empty measures, and the appropriate number is added
2323 @lilypond[fragment,verbatim]
2324 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2327 Currently, there is no way to condense multiple rests into a single
2330 @cindex condensing rests
2332 @node Automatic part combining
2333 @subsection Automatic part combining
2334 @cindex automatic part combining
2335 @cindex part combiner
2337 Automatic part combining is used to merge two parts of music onto on
2338 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2339 and orchestral scores. When the two parts are identical for a period of
2340 time, only one is shown. In places where the two parts differ, stem
2341 directions are set automatically. Also, soli and @`{a} due parts can be
2342 identified and marke.
2344 The syntax for part combining is
2347 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2350 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2351 combined into one context @var{context}. The names of the music
2352 expressions must start with the prefixes @code{one} and @code{two}.
2354 [Name of music expressions? is that context name? ]
2356 The most useful function of the part combiner to combining threads into
2357 one voice, as common for wind parts in orchestral scores:
2359 @lilypond[verbatim,singleline,fragment]
2361 \context Voice=one \partcombine Voice
2362 \context Thread=one \notes\relative c'' {
2365 \context Thread=two \notes\relative c'' {
2371 Notice that the first @code{g} appears only once, although it was
2372 specified twice (once in each Thread). Also note that stem, slur and tie
2373 directions are set automatically, depending whether there is a solo or
2376 There is actually a third engraver involved in part combining; the
2377 @code{Voice_devnull_engraver}. This one takes care of removing
2378 redundant spanners such as beams, slurs, ties, crescendi, etc. Note that
2379 the Thread called one always gets up stems, and "solo", while @code{two}
2380 always gets down stems and "Solo II".
2382 If you just want the splitting of Threads and setting of directions, and
2383 not the textual markings, you may set the property @var{soloADue} to
2384 false. There are a number of other properties that you can use to tweak
2385 the behavior of part combining, refer to the automatically generated
2386 documentation. Look for @code{Thread_devnull_engraver}
2387 @code{Voice_engraver} and @code{A2_engraver}.
2389 @cindex @code{Thread_devnull_engraver}
2390 @cindex @code{Voice_engraver}
2391 @cindex @code{A2_engraver}
2393 @node Hara-kiri staffs
2394 @subsection Hara-kiri staffs
2397 [TODO]@footnote{Harakiri, also called Seppuku, is the ritual suicide of
2398 the Japanese Samourai warriors.}
2408 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2409 staff context symbol that appears at the end of a staff line. It
2410 anticipates the pitch of the first note(s) of the following line and
2411 thus helps the player or singer to manage line breaks during
2412 performance, thus enhancing readability of a score.
2417 \notes { c'1 d' e' d' \break c' d' e' d' }
2421 \consists Custos_engraver;
2422 Custos \override #'style = #'mensural;
2429 Custodes were frequently used in music notation until the 16th century.
2430 There were different appearences for different notation styles.
2431 Nowadays, they have survived only in special forms of musical notation
2432 such as via the @emph{editio vaticana} dating back to the beginning of
2435 For typesetting custodes, just put a @code{Custos_engraver} into the
2436 @code{StaffContext} when declaring the @code{\paper} block. In this
2437 block, you can also globally control the appearance of the custos symbol
2438 by setting the custos @code{style} property. Currently supported styles
2439 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2446 \consists Custos_engraver;
2447 Custos \override #'style = #'mensural;
2452 The property can also be set locally, for example in a @code{\notes}
2457 \property Staff.Custos \override #'style = #'vaticana
2458 c'1 d' e' d' \break c' d' e' d'
2462 @c . {Tuning output}
2464 @section Tuning output
2466 LilyPond tries to take as much formatting as possible out of your
2467 hands. Nevertheless, there are situations where it needs some help, or
2468 where you want to override its decisions. In this section we discuss
2469 ways to do just that.
2471 Notation output is specified in so called grobs (graphic objects). Each
2472 grob carries with it a set of properties (grob properties) specific to
2473 that object. For example, a stem grob has properties that specify its
2474 direction, length and thickness.
2477 The most common way of tuning the output is to alter the values of these
2478 properties. There are two ways of doing that: first, you can temporarily
2479 change the definition of a certain type of grob, thus affecting a whole
2480 set of objects. Second, you can select one specific object, and set a
2484 * Tuning groups of grobs ::
2485 * Tuning per grob ::
2490 @node Tuning groups of grobs
2491 @subsection Tuning groups of grobs
2493 @cindex grob description
2495 A grob definition is a Scheme association list, that is stored in a context
2496 property. By assigning to that property (using plain @code{\property}),
2497 you can change the resulting grobs.
2499 @lilypond[verbatim, fragment]
2500 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2503 The @code{\property} statement effectively empties the definition of the
2504 Stem object. One of the effects is that property specifying how it
2505 should be printed is erased, with the effect of rendering it invisible.
2511 This mechanism is fairly crude, since you can only set, but not modify,
2512 the definition of a grob. For this reason, there is a more advanced
2513 mechanism: you can add a property on top of an existing definition, or
2514 remove a property: @code{\override} adds a settings, @code{\revert}
2515 removes that setting.
2518 c'4 \property Voice.Stem \override #'thickness = #4.0
2519 c'4 \property Voice.Stem \revert #'thickness
2523 For the digirati, the grob description is an Scheme association
2524 list. Since it is singly linked, we can treat it as a stack, and
2525 @code{\override} and @code{\revert} are just push and pop
2526 operations. This pushing and popping is also used for overriding automatic
2529 If you revert a setting which was not set in the first place, then it
2530 has no effect. However, if the setting was set as a system default, it
2531 may remove the default value, and this may give surprising results,
2532 including crashes. In other words, if you use @code{\override} and
2533 @code{\revert}, be sure to balance the overrides and reverts.
2535 If balancing them is too much work, use the @code{\set} shorthand. It
2536 performs a revert followed by an override:
2538 \property Voice.Stem \set #'thickness = #2.0
2541 Formally the syntax for these constructions is
2543 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2544 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2545 \property @var{context}.@var{grobname} \revert @var{symbol}
2547 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2548 and @var{grobname} are strings and @var{value} is a Scheme expression.
2552 LilyPond will hang or crash if @var{value} contains cyclic references.
2556 @node Tuning per grob
2557 @subsection Tuning per grob
2559 @cindex \outputproperty
2561 A second way of tuning grobs is the more arcane @code{\outputproperty}
2563 Syntax is as follows
2565 \outputproperty @var{predicate} @var{symbol} = @var{value}
2567 Here @code{predicate} is a Scheme function taking a grob argument, and
2568 returning a boolean. This statement is processed by the
2569 @code{Output_property_engraver}. It instructs the engraver to feed all
2570 grobs that it sees to @var{predicate}. Whenever the predicate returns
2571 true, the grob property @var{symbol} will be set to @var{value}.
2573 You will need to combine this statement with @code{\context} to select
2574 the appropriate context to apply this to.
2576 If possible, avoid this feature: the semantics are not very clean, and
2577 the syntax and semantics are up for rewrite.
2579 Here are some random examples:
2581 @lilypond[fragment,verbatim,singleline]
2583 \context Staff \outputproperty
2584 #(make-type-checker 'note-head-interface)
2585 #'extra-offset = #'(0.5 . 0.75)
2589 @cindex @code{extra-offset}
2591 This selects all note heads occurring at current staff level, and sets
2592 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2595 Move the text "m.d.", but not the fingering instruction "2".
2596 @lilypond[verbatim,singleline]
2597 #(define (make-text-checker text)
2598 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2601 \notes\relative c''' {
2602 \property Voice.Stem \set #'direction = #1
2603 \outputproperty #(make-text-checker "m.d.")
2604 #'extra-offset = #'(-3.5 . -4.5)
2614 @subsection What to tune?
2616 This all tells you how to tune grobs, but what variables are there? The
2617 question is not answered in this manual (although you may encounter
2620 Grob properties are tied directly to the implementation of LilyPond, and
2621 they are thus a moving target. Documentation of such variables are part
2622 of the generated documentation: this documentation is generated from the
2623 sourcecode of lily for each version, so it is usually mch more up to
2624 date than this manual. It should be available from the same place where
2625 you got this manual.
2627 To decide how to tune a grob, you need to find the following information
2630 which grob to modify
2632 which property to modify
2634 which context the grob comes from.
2637 Included with the automatically generated documentation is a master list
2638 of grobs. Each one can be clicked, taking you to a overview of the
2639 available properties.
2641 There is also a master list of contexts. Clicking each takes you to an
2642 overview of the context, listing which grob types are created there.
2647 @subsection Text markup
2651 LilyPond has an internal mechanism to typeset texts. You can
2652 form text markup expressions by composing scheme expressions
2653 in the following way.
2658 @lilypond[verbatim, singleline]
2661 c^#'(upright "upright")
2662 c_#'((bold upright) "bold")
2663 d^#'(lines "one" ((bold upright) "two"))
2664 e_#'(music (named "noteheads-2" "flags-u3"))
2668 Normally, the Scheme markup text is stored in the @code{text} property
2669 of a grob. Formally, it is defined as follows:
2672 text: string | (head? text+)
2673 head: markup | (markup+)
2674 markup-item: property | abbrev | @var{fontstyle}
2675 property: (@var{key} . @var{value})
2676 abbrev: @code{rows lines roman music bold italic named super sub text}
2679 The markup is broken down and converted into a list of grob properties,
2680 which are prepended to the property list. The @var{key}-@var{value}
2681 pair is a grob property.
2683 The following abbreviations are currently
2688 horizontal mode: set all text on one line (default)
2690 vertical mode: set every text on new line
2700 lookup by character name
2702 plain text lookup (by character value)
2709 @var{fontstyle} may be any of @code{finger volta timesig mmrest mark
2710 script large Large dynamic}
2712 [wat is het verschil tussen fontstyle en abbrev?]
2715 It is possible to use @TeX{} commands in the strings, but this should be
2716 avoided because this makes it impossible for LilyPond to compute the
2717 exact length of the string, which may lead to collisions. Also, @TeX{}
2718 commands won't work with direct postscript output.
2722 @section Page layout
2736 @subsection Paper block
2739 The most important output definition is the @code{\paper} block, for
2740 music notation. The syntax is
2743 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2746 where each of the items is one of
2749 @item An assignment. The assignment must be terminated by a
2752 @item A context definition. See @ref{Notation Contexts} for
2753 more information on context definitions.
2755 @item \stylesheet declaration. Its syntax is
2757 \stylesheet @var{alist}
2760 See @file{scm/font.scm} for details of @var{alist}.
2761 @item an \elementdescriptions declaration.
2763 \elementdescriptions @var{alist}
2765 See @file{scm/grob-description.scm} for details of @var{alist}.
2769 @c . {Paper variables}
2770 @node Paper variables
2771 @subsection Paper variables
2772 @cindex Paper variables
2774 The paper block has some variables you may want to use or change:
2777 @cindex @code{indent}
2779 The indentation of the first line of music.
2780 @cindex @code{staffspace}
2782 @item @code{staffspace}
2783 The distance between two staff lines, calculated from the center
2784 of the lines. If you want scale independent output, then you should
2785 use either this or @code{stafflinethickness}
2786 as a unit for distances you modify.
2788 @cindex @code{linewidth}
2789 @item @code{linewidth}
2790 Sets the width of the lines.
2792 If set to a negative value, a single
2793 unjustified line is produced.
2795 @cindex @code{textheight}
2797 @item @code{textheight}
2798 Sets the total height of the music on each page. Only used by
2801 @cindex @code{interscoreline}
2803 @item @code{interscoreline}
2804 Sets the spacing between systems.
2806 @cindex @code{interscorelinefill}
2810 @item @code{interscorelinefill}
2811 If set to a positive number, the distance between the score
2812 lines will stretch in order to fill the full page. In that
2813 case @code{interscoreline} specifies the minimum spacing.
2818 @cindex @code{stafflinethickness}
2820 @item @code{stafflinethickness}
2821 Determines the thickness of staff lines, and also acts as a scaling
2822 parameter for other line thicknesses.
2829 @subsection Font size
2832 The Feta font provides musical symbols at six different sizes. These
2833 fonts are 11 point, 13 point, 16 point, 20 point,
2834 23 point, and 26 point. The point size of a font is the
2835 height of the five lines in a staff when displayed in the font.
2837 Definitions for these sizes are the files @file{paperSZ.ly}, where
2838 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2839 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2840 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2841 @code{paperTwentysix} are defined respectively. The default
2842 @code{\paper} block is also set.
2844 The font definitions are generated using a Scheme function. For more
2845 details, see the file @file{font.scm}.
2851 @subsection Paper size
2856 @cindex @code{papersize}
2858 To change the paper size, you must first set the
2859 @code{papersize} variable at top level. Set it to
2860 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2861 specification, you must set the font as described above. If you want
2862 the default font, then use the 20 point font. The new paper size will
2863 not take effect if the font is not loaded and selected afterwards.
2867 \include "paper16.ly"
2871 \paper @{ \paperSixteen @}
2875 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
2876 will set the paper variables @code{hsize} and @code{vsize} (used by
2887 @subsection Line break
2890 @cindex breaking lines
2892 Line breaks are normally computed automatically. They are chosen such
2893 that the resulting spacing has low variation, and looks neither cramped
2896 Occasionally you might want to override the automatic breaks; you can do
2897 this by specifying @code{\break}. This will force a line break at this
2898 point. Do remember that line breaks can only occur at places where there
2899 are barlines. If you want to have a line break where there is no
2900 barline, you can force an invisible barline by entering @code{\bar "";}.
2902 Similarly, @code{\noBreak} forbids a line break at a certain point.
2904 @cindex @code{\penalty}
2906 The @code{\break} and @code{\noBreak} commands are defined in terms of
2907 the penalty command:
2909 \penalty @var{int} @code{;}
2912 This encourages or discourages LilyPond to make a line break at this
2917 The scaling of the @code{\penalty} argument is not well-defined. The
2918 command is rather kludgy, and slated for rewriting.
2922 @subsection Page break
2925 @cindex breaking pages
2928 Page breaks are normally computed by @TeX{}, so they are not under
2929 direct control of LilyPond. However, you can insert a commands into the
2930 @file{.tex} output to instruct @TeX{} where to break pages. For more
2931 details, see the example file @file{input/test/between-systems.ly}
2942 LilyPond can produce MIDI output. The performance lacks lots of
2943 interesting effects, such as swing, articulation, slurring, tieing,
2944 etc., but it is good enough for proof-hearing the music you enter.
2946 Dynamics and tempo changes are interpreted.
2948 [TODO: mention volume control/Instrument Equaliser]
2953 It is currently not possible to use the percussion channel (generally
2954 channel 10 of a MIDI file).
2958 * MIDI instrument names::
2963 @subsection MIDI block
2967 The MIDI block is analogous to the paper block, but it is somewhat
2968 simpler. The @code{\midi} block can contain:
2972 @item a @code{\tempo} definition
2973 @item context definitions
2976 Assignments in the @code{\midi} block are not allowed.
2980 @cindex context definition
2982 Context definitions follow precisely the same syntax as within the
2983 \paper block. Translation modules for sound are called performers.
2984 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2987 @node MIDI instrument names
2988 @subsection MIDI instrument names
2990 @cindex instrument names
2991 @cindex @code{Staff.midiInstrument}
2992 @cindex @code{Staff.instrument}
2994 The MIDI instrument name is set by the @code{Staff.midiInstrument}
2995 property or, if that property is not set, the @code{Staff.instrument}
2996 property. The instrument name should be chosen from the list in
2997 @ref{MIDI instruments}.
3001 If the selected string does not exactly match, then LilyPond uses the
3002 default piano. It is not possible to select an instrument by number.
3014 @section Music entry
3022 One of the applications of LilyPond is to enter music from existing
3023 written or printed material. When you're doing this kind of copying
3024 work, you can easily make mistakes. This section deals with tricks and
3025 features that help you enter music, and find and correct mistakes.
3029 @subsection Relative
3031 @cindex relative octave specification
3033 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3034 When you copy existing music, it is easy to accidentally put a pitch in
3035 the wrong octave and hard to find such an error. To prevent these
3036 errors, LilyPond features octave entry.
3038 @cindex @code{\relative}
3040 \relative @var{startpitch} @var{musicexpr}
3043 The octave of notes that appear in @var{musicexpr} are calculated as
3044 follows: If no octave changing marks are used, the basic interval
3045 between this and the last note is always taken to be a fourth or less.
3046 The octave changing marks @code{'} and @code{,} can then
3047 be added to raise or lower the pitch by an extra octave. Upon entering
3048 relative mode, an absolute starting pitch must be specified that will
3049 act as the predecessor of the first note of @var{musicexpr}.
3051 This distance is determined without regarding accidentals: a
3052 @code{fisis} following a @code{ceses} will be put above the
3055 Entering music that changes octave frequently is easy in relative mode.
3056 @lilypond[fragment,singleline,verbatim,center]
3062 And octave changing marks are used for intervals greater than a fourth.
3063 @lilypond[fragment,verbatim,center]
3065 c g c f, c' a, e'' }
3068 If the preceding item is a chord, the first note of the chord is used
3069 to determine the first note of the next chord. But other notes
3070 within the second chord are determined by looking at the immediately
3073 @lilypond[fragment,verbatim,center]
3080 @cindex @code{\notes}
3082 The pitch after the @code{\relative} contains a notename. To parse
3083 the pitch as a notename, you have to be in note mode, so there must
3084 be a surrounding @code{\notes} keyword (which is not
3087 The relative conversion will not affect @code{\transpose},
3088 @code{\chords} or @code{\relative} sections in its argument. If you
3089 want to use relative within transposed music, you must place an
3090 additional @code{\relative} inside the @code{\transpose}.
3095 @subsection Bar check
3099 @cindex @code{barCheckNoSynchronize}
3103 Whenever a bar check is encountered during interpretation, a warning
3104 message is issued if it doesn't fall at a measure boundary. This can
3105 help you find errors in the input. Depending on the value of
3106 @code{barCheckNoSynchronize}, the beginning of the measure will be
3107 relocated, so this can also be used to shorten measures.
3109 A bar check is entered using the bar symbol, @code{|}
3113 @c . {Point and click}
3114 @node Point and click
3115 @subsection Point and click
3117 Point and click lets you find notes in the input by clicking on them in
3118 the Xdvi window. This makes it very easy to find input that causes some
3119 error in the sheet music.
3121 To use it, you need the following software
3125 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3126 Xdvi} version 22.28 or better.
3128 Note that most @TeX{} distributions ship with xdvik, which is a
3129 different and less well maintained program. To find out which xdvi you
3130 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3135 Add one these lines to the top of your .ly file. The first one is for
3136 line location only. The second one is more convenient, but requires
3137 patching @code{emacsclient}.
3140 #(set! point-and-click line-location)
3141 #(set! point-and-click line-column-location)
3144 In the emacs startup file (usually @file{~/.emacs}), add the following
3149 If you want emacs to jump to the exact spot (and not just the line) on a
3150 click, you must enable column positioning. To do so, you need to patch
3151 emacsclient. Apply @uref{this patch,
3152 http://www.cs.uu.nl/~hanwen/public/software/emacsclient-column} to
3153 @file{emacsclient.c} and @file{server.el} from the emacs source
3154 code. Stick the compiled emacsclient into a bin directory, and put
3155 @file{server.el} into a elisp directory
3156 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3157 init file, before invoking server-start.
3160 (setq load-path (cons (concat (getenv "HOME") "/usr/share/emacs")
3165 Xdvi must be configured to use the emacs editor. Before starting, set
3166 the environment variable @code{XEDITOR} to @code{emacsclient --no-wait
3167 +%c:%l %f}. Xdvi also must be configured to find the fonts. Refer to the
3168 xdvi documentation for more information.
3172 When viewing, control-mousebutton 1 will take you to the correct
3173 line/column. Control-mousebutton 2 will show all clickable boxes.
3175 When you convert the TeX file to PostScript using dvips, dvips
3176 will complain about not finding @code{src:X:Y} files. Those complaints are
3177 harmless, and can be ignored.
3180 @node Interpretation context
3181 @section Interpretation context
3184 * Notation Contexts::
3185 * Creating contexts::
3186 * Default contexts::
3187 * Context properties::
3188 * Changing context definitions::
3189 * Defining new contexts::
3193 @c . {Notation Contexts}
3194 @node Notation Contexts
3195 @subsection Notation Contexts
3197 @cindex notation contexts
3199 Notation contexts are objects that only exist during a run of LilyPond.
3200 During the interpretation phase of LilyPond (when it prints
3201 "interpreting music"), the music expresiion in a @code{\score} block is
3202 interpreted in time order. This is the same order that humans hear and
3205 During this interpretation, the notation context is holds the state for
3206 the current point within the music. It contains information like
3209 @item What notes are playing at this point?
3210 @item What symbols will be printed at this point?
3211 @item What is the current key signature, time signature, point within
3215 Contexts are grouped hierarchically: A @code{Voice} context is
3216 contained in a @code{Staff} context (because a staff can contain
3217 multiple voices at any point), a @code{Staff} context is contained in
3218 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3219 these can all contain multiple staffs).
3222 Contexts associated with sheet music output are called @emph{notation
3223 contexts}, those for sound output are called performance contexts.
3226 @node Creating contexts
3227 @subsection Creating contexts
3229 @cindex @code{\context}
3230 @cindex context selection
3232 Contexts for a music expression can be selected manually, using the
3233 following music expression.
3236 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3239 This instructs lilypond to interpret @var{musicexpr} within the context
3240 of type @var{contexttype} and with name @var{contextname}. If this
3241 context does not exist, it will be created.
3245 @lilypond[verbatim,singleline]
3247 \notes \relative c'' {
3248 c4 <d4 \context Staff = "another" e4> f
3255 In this example, the @code{c} and @code{d} are printed on the
3256 default staff. For the @code{e}, a context Staff called
3257 @code{another} is specified; since that does not exist, a new
3258 context is created. Within @code{another}, a (default) Voice context
3259 is created for the @code{e4}. When all music referring to a
3260 context is finished, the context is ended as well. So after the
3261 third quarter, @code{another} is removed.
3265 @node Default contexts
3266 @subsection Default contexts
3268 Most music expressions don't need @code{\context}: they inherit the
3269 notation context from their parent. Each note is a music expression, and
3270 as you can see in the following example, only the sequential music
3271 enclosing the three notes has an explicit context.
3273 @lilypond[verbatim,singleline]
3274 \score { \notes \context Voice = goUp { c'4 d' e' } }
3277 There are some quirks that you must keep in mind when dealing with
3280 First, every top-level music is interpreted by the Score context, in other
3281 words, you may think of @code{\score} working like
3284 \context Score @var{music}
3288 Second, sequential music follows the contexts of its
3289 ``children''. Consider the following example.
3291 @lilypond[verbatim, singleline]
3292 \score { \context Score \notes { c'4 ( d' )e' } }
3295 The sequential music is interpreted by the Score context initially
3296 (notice that the @code{\context} specification is redundant), but when a
3297 note is encountered, contexts are setup to accept that note. In this
3298 case, a Thread, Voice and Staff are created. The rest of the sequential
3299 music is also interpreted with the same Thread, Voice and Staff context,
3300 putting the notes on the same staff, in the same voice.
3302 This is a convenient mechanism, but do not expect opening chords to work
3303 without @code{\context}. For every note, a separate staff is
3306 @lilypond[verbatim, singleline]
3307 \score { \notes <c'4 es'> }
3310 Of course, if the chord is preceded by a normal note in sequential
3311 music, the chord will be interpreted by the Thread of the preceding
3313 @lilypond[verbatim,singleline]
3314 \score { \notes { c'4 <c'4 es'> } }
3319 @node Context properties
3320 @subsection Context properties
3322 Notation contexts can be modified from within the @file{.ly} file. The
3323 following music expression does that job:
3325 @cindex @code{\property}
3327 \property @var{contextname}.@var{propname} = @var{value}
3330 Sets the @var{propname} property of the context @var{contextname} to the
3331 specified Scheme expression @var{value}. All @var{propname} and
3332 @var{contextname} are strings, which are typically unquoted.
3334 Properties that are set in one context are inherited by all of the
3335 contained contexts. This means that a property valid for the
3336 @code{Voice} context can be set in the @code{Score} context (for
3337 example) and thus take effect in all @code{Voice} contexts.
3339 Properties can be unset using the following expression:
3341 \property @var{contextname}.@var{propname} \unset
3344 This removes the definition of @var{propname} in @var{contextname}. If
3345 @var{propname} was not defined in @var{contextname} (but was inherited
3346 from a higher context), then this has no effect.
3351 @code{\property \unset} is not the inverse of @code{\property \set}
3356 @c . {Context definitions}
3357 @node Changing context definitions
3358 @subsection Changing context definitions
3360 @cindex context definition
3361 @cindex translator definition
3363 The most common way to define a context is by extending an existing
3364 context. You can change an existing context from the paper block, by
3365 first initializing a translator with an existing context identifier:
3369 @var{context-identifier}
3372 Then you can add engravers, remove engravers.
3373 The syntax for these operations are respectively
3375 \remove @var{engravername}
3376 \consists @var{engravername}
3380 Here @var{engravername} is a string, the name of an engraver in the
3383 @var{propname} = @var{value}
3387 @lilypond[verbatim,singleline]
3391 \translator { \StaffContext
3392 \remove Clef_engraver;
3398 You can also set properties in a translator definition. The syntax is as
3401 @var{propname} is a string and @var{value} is a Scheme
3404 @var{propname} = @var{value}
3405 @var{propname} \set @var{symbol} = @var{value}
3406 @var{propname} \override @var{symbol} = @var{value}
3407 @var{propname} \revert @var{symbol}
3411 These type of property assignments happen before interpretation starts,
3412 so a @code{\property} expression will override any predefined settings.
3415 To simplify editing translators, all standard contexts have standard
3416 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3417 @code{VoiceContext}.
3419 @node Defining new contexts
3420 @subsection Defining new contexts
3422 If you want to build a context from scratch, you must also supply the
3423 following extra information:
3425 @item A name, specified by @code{\name @var{contextname};}.
3427 @item A cooperation module. This is specified by @code{\type
3434 \type "Engraver_group_engraver";
3435 \name "SimpleStaff";
3437 \consists "Staff_symbol_engraver";
3438 \consists "Note_head_engraver";
3439 \consistsend "Axis_group_engraver";
3443 Basic building blocks of translation are called engravers; they are
3444 special C++ classes.
3446 The argument of @code{\type} is the name for a special engraver that
3447 handles cooperation between simple engravers such as
3448 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3449 for this engraver are the following:
3451 @cindex @code{Engraver_group_engraver}
3452 @item @code{Engraver_group_engraver}
3453 The standard cooperation engraver.
3455 @cindex @code{Score_engraver}
3457 @item @code{Score_engraver}
3458 This is cooperation module that should be in the top level context,
3459 and only the toplevel context.
3461 @cindex @code{Grace_engraver_group}
3463 @item @code{Grace_engraver_group}
3464 This is a special cooperation module (resembling
3465 @code{Score_engraver}) that is used to created an embedded
3472 @item @code{\alias} @var{alternate-name} @code{;}
3473 This specifies a different name. In the above example,
3474 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3476 @item @code{\consistsend} @var{engravername} @code{;}
3477 Analogous to @code{\consists}, but makes sure that
3478 @var{engravername} is always added to the end of the list of
3481 Some engraver types need to be at the end of the list; this
3482 insures they are put there, and stay there, if a user adds or
3483 removes engravers. This command is usually not needed for
3486 @item @code{\accepts} @var{contextname} @code{;}
3487 Add @var{contextname} to the list of context this context can
3488 contain. The first listed context is the context to create by
3491 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3492 completeness, but is never used in practice.
3495 @item @code{\name} @var{contextname} @code{;}
3496 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3497 the name is not specified, the translator won't do anything.
3500 In the @code{\paper} block, it is also possible to define translator
3501 identifiers. Like other block identifiers, the identifier can only
3502 be used as the very first item of a translator. In order to define
3503 such an identifier outside of @code{\score}, you must do
3509 foo = \translator @{ @dots{} @}
3516 \translator @{ \foo @dots{} @}
3524 @cindex paper types, engravers, and pre-defined translators
3531 @c . {Syntactic details}
3532 @node Syntactic details
3533 @section Syntactic details
3534 @cindex Syntactic details
3536 This section describes details that were too boring to be put elsewhere.
3541 * Music expressions::
3542 * Manipulating music expressions::
3550 @subsection Top level
3553 This section describes what you may enter at top level.
3557 @subsubsection Score
3560 @cindex score definition
3562 The output is generated combining a music expression with an output
3563 definition. A score block has the following syntax:
3566 \score @{ @var{musicexpr} @var{outputdefs} @}
3569 @var{outputdefs} are zero or more output definitions. If none is
3570 supplied, the default @code{\paper} block will be added.
3574 @c . {Default output}
3575 @subsubsection Default output
3577 Default values for the @code{\paper} and @code{\midi} block are set by
3578 entering such a block at top-level.
3581 @subsubsection Header
3583 @cindex @code{\header}
3586 A header describes bibilographic information of the file's contents. It
3587 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3588 use this information for generating titles. Key values that are used by
3589 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3590 metre, arranger, piece and tagline.
3592 @cindex @code{ly2dvi}
3596 \header @{ @var{key1} = @var{val1};
3597 @var{key2} = @var{val2}; @dots{} @}
3600 It is customary to put the @code{\header} at the top of the file.
3602 @subsubsection Default output
3604 A @code{\midi} or @code{\paper} block at top-level sets the default
3606 paper block for all scores that lack an explicit paper block.
3610 @subsection Identifiers
3613 All of the information in a LilyPond input file, is represented as a
3614 Scheme value. In addition to normal Scheme data types (such as pair,
3615 number, boolean, etc.), LilyPond has a number of specialized data types,
3622 @item Translator_def
3626 @item Music_output_def
3627 @item Moment (rational number)
3630 LilyPond also includes some transient object types. Objects of these
3631 types are built during a LilyPond run, and do not `exist' per se within
3632 your input file. These objects are created as a result of your input
3633 file, so you can include commands in the input to manipulate them,
3634 during a lilypond run.
3637 @item Grob: short for Graphical object. See @ref{Grobs}.
3638 @item Molecule: device-independent page output object,
3639 including dimensions. Produced by some Grob functions
3641 @item Translator: object that produces audio objects or Grobs. This is
3642 not yet user accessible.
3643 @item Font_metric: object representing a font. (See @ref{Font metrics})
3648 @node Music expressions
3649 @subsection Music expressions
3651 @cindex music expressions
3653 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3654 syllables are music expressions, and you can combine music expressions
3655 to form new ones, for example by enclosing a list of expressions in
3656 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3657 compound expression is formed out of the quarter note @code{c} and a
3658 quarter note @code{d}:
3661 \sequential @{ c4 d4 @}
3664 @cindex Sequential music
3665 @cindex @code{\sequential}
3666 @cindex sequential music
3669 @cindex Simultaneous music
3670 @cindex @code{\simultaneous}
3672 The two basic compound music expressions are simultaneous and
3676 \sequential @code{@{} @var{musicexprlist} @code{@}}
3677 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3679 For both, there is a shorthand:
3681 @code{@{} @var{musicexprlist} @code{@}}
3685 @code{<} @var{musicexprlist} @code{>}
3687 for simultaneous music.
3688 In principle, the way in which you nest sequential and simultaneous to
3689 produce music is not relevant. In the following example, three chords
3690 are expressed in two different ways:
3692 @lilypond[fragment,verbatim,center]
3693 \notes \context Voice {
3694 <a c'> <b d' > <c' e'>
3695 < { a b c' } { c' d' e' } >
3700 Other compound music expressions include
3703 \transpose @var{pitch} @var{expr}
3704 \apply @var{func} @var{expr}
3705 \context @var{type} = @var{id} @var{expr}
3706 \times @var{fraction} @var{expr}
3710 @c . {Manipulating music expressions}
3711 @node Manipulating music expressions
3712 @subsection Manipulating music expressions
3714 The @code{\apply} mechanism gives you access to the internal
3715 representation of music. You can write Scheme-functions that operate
3716 directly on it. The syntax is
3718 \apply #@var{func} @var{music}
3720 This means that @var{func} is applied to @var{music}. The function
3721 @var{func} should return a music expression.
3723 This example replaces the text string of a script. It also shows a dump
3724 of the music it processes, which is useful if you want to know more
3725 about how music is stored.
3727 #(define (testfunc x)
3728 (if (equal? (ly-get-mus-property x 'text) "foo")
3729 (ly-set-mus-property x 'text "bar"))
3731 (ly-set-mus-property x 'elements
3732 (map testfunc (ly-get-mus-property x 'elements)))
3737 \apply #testfunc { c4_"foo" }
3741 For more information on what is possible, see the @ref{Tricks} and the
3742 automatically generated documentation.
3745 Directly accessing internal representations is dangerous: the
3746 implementation is subject to changes, so you should avoid this feature
3751 @c . {Span requests}
3757 @subsubsection Span requests
3758 @cindex Span requests
3760 Notational constructs that start and end on different notes can be
3761 entered using span requests. The syntax is as follows:
3765 \spanrequest @var{startstop} @var{type}
3769 @cindex @code{\start}
3770 @cindex @code{\stop}
3772 This defines a spanning request. The @var{startstop} parameter is either
3773 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
3774 describes what should be started. Much of the syntactic sugar is a
3775 shorthand for @code{\spanrequest}, for example,
3777 @lilypond[fragment,verbatim,center]
3778 c'4-\spanrequest \start "slur"
3779 c'4-\spanrequest \stop "slur"
3782 Among the supported types are @code{crescendo}, @code{decrescendo},
3783 @code{beam}, @code{slur}. This is an internal command. Users are
3784 encouraged to use the shorthands which are defined in the initialization
3785 file @file{spanners.ly}.
3790 @subsection Assignments
3793 Identifiers allow objects to be assigned to names during the parse
3794 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3795 and to refer to an identifier, you preceed its name with a backslash:
3796 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3797 the input-types listed above. Identifier assignments can appear at top
3798 level in the LilyPond file, but also in @code{\paper} blocks.
3800 Semicolons are forbidden after top level assignments, but mandatory in
3801 other places. The rules about semicolons and assignments are very
3802 confusing, but when LilyPond input evolves more towards Scheme, we hope
3803 that this problem will grow smaller.
3805 An identifier can be created with any string for its name, but you will
3806 only be able to refer to identifiers whose names begin with a letter,
3807 being entirely alphabetical. It is impossible to refer to an identifier
3808 whose name is the same as the name of a keyword.
3810 The right hand side of an identifier assignment is parsed completely
3811 before the assignment is done, so it is allowed to redefine an
3812 identifier in terms of its old value, e.g.
3818 When an identifier is referenced, the information it points to is
3819 copied. For this reason, an identifier reference must always be the
3820 first item in a block.
3824 \paperIdent % wrong and invalid
3828 \paperIdent % correct
3833 @c . {Lexical modes}
3835 @subsection Lexical modes
3836 @cindex Lexical modes
3839 @cindex @code{\notes}
3840 @cindex @code{\chords}
3841 @cindex @code{\lyrics}
3843 To simplify entering notes, lyrics, and chords, LilyPond has three
3844 special input modes on top of the default mode: note, lyrics and chords
3845 mode. These input modes change the way that normal, unquoted words are
3846 interpreted: for example, the word @code{cis} may be interpreted as a
3847 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
3850 A mode switch is entered as a compound music expressions
3852 @code{\notes} @var{musicexpr}
3853 @code{\chords} @var{musicexpr}
3854 @code{\lyrics} @var{musicexpr}.
3857 In each of these cases, these expressions do not add anything to the
3858 meaning of their arguments. They are just a way to indicate that the
3859 arguments should be parsed in indicated mode. The modes are treated in
3860 more detail in the @ref{Note entry}, @ref{Lyrics} and
3863 You may nest different input modes.
3867 @subsection Ambiguities
3872 The grammar contains a number of ambiguities. We hope to resolve them at
3876 @item The assignment
3882 can be interpreted as making a string identifier @code{\foo}
3883 containing @code{"bar"}, or a music identifier @code{\foo}
3884 containing the syllable `bar'.
3886 @item The assignment
3892 can be interpreted as making an integer identifier
3893 containing -6, or a Request identifier containing the
3894 fingering `6' (with neutral direction).
3896 @item If you do a nested repeat like
3908 then it is ambiguous to which @code{\repeat} the
3909 @code{\alternative} belongs. This is the classic if-then-else
3910 dilemma. It may be solved by using braces.
3912 @item (an as yet unidentified ambiguity :-)
3916 @c . {Lexical details}
3917 @node Lexical details
3918 @section Lexical details
3920 Even more boring details, now on lexical side of the input parser.
3931 * Version information::
3936 @subsection Comments
3939 @cindex block comment
3940 @cindex line comment
3944 A one line comment is introduced by a @code{%} character.
3945 Block comments are started by @code{%@{} and ended by @code{%@}}.
3946 They cannot be nested.
3949 @subsection Direct Scheme
3953 @cindex Scheme, in-line code
3956 LilyPond contains a Scheme interpreter (the GUILE library) for
3957 internal use. In some places Scheme expressions also form valid syntax:
3958 whereever it is allowed,
3962 evaluates the specified Scheme code. If this is used at toplevel, then
3963 the result is discarded. Example:
3965 \property Staff.TestObject \override #'foobar = #(+ 1 2)
3968 @code{\override} expects two Scheme expressions, so there are two Scheme
3969 expressions. The first one is a symbol (@code{foobar}), the second one
3970 an integer (namely, 3).
3972 Scheme is a full-blown programming language, and a full discussion is
3973 outside the scope of this document. Interested readers are referred to
3974 the website @uref{http://www.schemers.org/} for more information on
3979 @subsection Keywords
3983 Keywords start with a backslash, followed by a number of lower case
3984 alphabetic characters. These are all the keywords.
3987 apply arpeggio autochange spanrequest commandspanrequest
3988 simultaneous sequential accepts alternative bar breathe
3989 char chordmodifiers chords clef cm consists consistsend
3990 context denies duration dynamicscript elementdescriptions
3991 font grace header in lyrics key mark pitch
3992 time times midi mm name pitchnames notes outputproperty
3993 override set revert partial paper penalty property pt
3994 relative remove repeat addlyrics partcombine score
3995 script stylesheet skip textscript tempo translator
4000 @subsection Integers
4008 Formed from an optional minus sign followed by digits. Arithmetic
4009 operations cannot be done with integers, and integers cannot be mixed
4014 @cindex real numbers
4020 Formed from an optional minus sign and a sequence of digits followed
4021 by a @emph{required} decimal point and an optional exponent such as
4022 @code{-1.2e3}. Reals can be built up using the usual operations:
4023 `@code{+}', `@code{-}', `@code{*}', and
4024 `@code{/}', with parentheses for grouping.
4032 A real constant can be followed by one of the dimension keywords:
4033 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4034 points, inches and centimeters, respectively. This converts the number
4035 a number that is the internal representation of that dimension.
4043 Begins and ends with the @code{"} character. To include a @code{"}
4044 character in a string write @code{\"}. Various other backslash
4045 sequences have special interpretations as in the C language. A string
4046 that contains no spaces can be written without the quotes. See
4047 @ref{Lexical modes} for details on unquoted strings; their
4048 interpretation varies depending on the situation. Strings can be
4049 concatenated with the @code{+} operator.
4051 The tokenizer accepts the following commands. They have no grammatical
4052 function, hence they can appear anywhere in the input.
4056 @subsection Main input
4059 @cindex @code{\maininput}
4061 The @code{\maininput} command is used in init files to signal that the
4062 user file must be read. This command cannot be used in a user file.
4064 @node File inclusion
4065 @subsection File inclusion
4066 @cindex @code{\include}
4068 \include @var{filename}
4071 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4072 unquoted string will not work here!) or a string identifier. The full
4073 filename including the @file{.ly} extension must be given,
4076 @node Version information
4077 @subsection Version information
4078 @cindex @code{\version}
4080 \version @var{string} ;
4083 Specify the version of LilyPond that a file was written for. The
4084 argument is a version string in quotes, for example @code{"1.2.0"}.
4085 This is used to detect invalid input, and to aid
4086 @code{convert-ly} a tool that automatically upgrades input files. See
4087 See @ref{convert-ly} for more information on @code{convert-ly}.
4096 @c .{Local emacs vars}
4099 @c minor-mode: font-lock
4100 @c minor-mode: outline
4101 @c outline-layout: (-1 : 0)
4102 @c outline-use-mode-specific-leader: "@c \."
4103 @c outline-primary-bullet: "{"
4104 @c outline-stylish-prefixes: nil
4105 @c outline-override-protect: t