3 @c - Reinsert subsection commands that were lost in the
4 @c ancient conversion from YODL! /MB
5 @c - Restructure! Separate internal commands from user level commands. /MB
6 @c - Add some words about Guile. /MB
7 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
9 @node Reference Manual, , , Top
10 @chapter Reference Manual
14 * Top level:: Top level
15 * Pitch names:: Pitch names
16 * Lexical conventions:: Lexical conventions
17 * Other languages:: Note names in various languages
18 * Lexical modes:: modes
20 * Music expressions:: Music expressions
21 * Atomic music expressions:: Atomic music expressions
22 * Note specification:: notedesc
24 * Manual beams:: Manual beam
25 * stem tremolo:: tremolo
26 * Compound music expressions:: Compound music expressions
29 * transpose:: transpose
30 * Ambiguities:: Ambiguities
31 * Notation conversion specifics:: Notation conversion specifics
32 * Automatic Beaming:: Automatic Beaming
33 * Chord Names:: Chord Names
34 * lyricprint:: lyricprint
35 * Notation Contexts:: Notation Contexts
36 * Properties:: Changing formatting
37 * Page layout:: Layout
38 * contextdefs:: contextdefs
39 * Sound output:: Sound output
41 * Pre-defined Identifiers:: Pre-defined Identifiers
42 @c May be fragile. Better make single link to generated doco?
43 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
44 * Engravers:(lilypond-internals)LilyPond engravers.
45 * Backend:(lilypond-internals)LilyPond backend.
50 @node Overview, , , Reference Manual
53 This document@footnote{This document has been revised for LilyPond 1.2.}
54 describes the the GNU LilyPond input format This format represents a
55 piece of music in an elegant way, but contains enough information for
56 both automatic typesetting and automatic performances.
58 LilyPond input can be classified into three types:
60 @item musical expressions: a musical expression is some combination of
62 @item output definitions: recipes for translating those musical
63 expressions into performances (MIDI) or graphics (eg. PostScript).
65 @item declarations: by declaring and naming musical expressions, you
66 can enter and edit them in manageable chunks.
71 @node Top level, , , Reference Manual
76 This section describes what you may enter at top level.
80 @cindex score definition
82 The output is generated combining a music expression with an output
83 definition. A score block has the following syntax:
86 \score @{ @var{musicexpr} @var{outputdefs} @}
89 @var{outputdefs} are zero or more output definitions. If no output
90 definition is supplied, the default @code{\paper} block will be added.
99 \header @{ @var{key1} = @var{val1};
100 @var{key2} = @var{val2}; @dots{} @}
103 A header describes the file's contents. It can also appear in a
104 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
105 information for generating titles. Key values that are used by
106 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
107 metre, arranger, piece and tagline.
109 It is customary to put the @code{\header} at the top of the file.
112 @node Pitch names, , , Reference Manual
114 Note names and chord modifiers can be customised for nationalities.
115 languages and conventions. The syntax is as follows.
117 \pitchnames @keyindex{pitchnames} @var{scheme-alist}
118 \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist}
121 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
122 specific examples how to do this. tables can be tailored specified
123 using. Some national note names have been provided, see @ref{Other
126 A @code{\paper} block at top level sets the default paper block. A
127 @code{\midi} block at top level works similarly.
131 Identifier assignments may appear at top level. Semicolons are
132 forbidden after top level assignments.
136 @node Lexical conventions, , , Reference Manual
137 @section Lexical conventions
139 @cindex lexical conventions
143 @unnumberedsubsec Comments
150 A one line comment is introduced by a `@code{%}' character.
151 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
152 They cannot be nested.
154 @unnumberedsubsec Scheme
158 LilyPond contains a Scheme interpreter (the GUILE library) for
159 internal use. The interpreter is accessed by the pound sign:
161 Whereever the syntax allows Scheme expressions, you may enter one as
167 Evaluates the specified Scheme code. If this is used at toplevel, then
168 the result is discarded. Example:
170 \property Staff.TestObject \override #'symbol = #(+ 1 2)
173 (in this case, @code{\override} expects two Scheme expressions.
175 [refer appendix/ online intro on Scheme]
177 @unnumberedsubsec Keywords
181 Keywords start with a backslash, followed by a number of lower case
182 alphabetic characters. These are all the keywords.
185 apply arpeggio autochange spanrequest commandspanrequest
186 simultaneous sequential accepts alternative bar breathe
187 char chordmodifiers chords clef cm consists consistsend
188 context denies duration dynamicscript elementdescriptions
189 font grace header in lyrics key mark musicalpitch
190 time times midi mm name pitchnames notes outputproperty
191 override set revert partial paper penalty property pt
192 relative remove repeat addlyrics partcombine score
193 script stylesheet skip textscript tempo translator
197 @unnumberedsubsec Integers
201 Formed from an optional minus sign followed by digits. Arithmetic
202 operations cannot be done with integers, and integers cannot be mixed
205 @unnumberedsubsec Reals
210 Formed from an optional minus sign and a sequence of digits followed
211 by a @emph{required} decimal point and an optional exponent such as
212 @code{-1.2e3}. Reals can be built up using the usual operations:
213 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
214 `@code{/}@indexcode{/}', with parentheses for grouping.
216 A real constant can be followed by one of the dimension
219 @code{\mm}@keyindex{mm},
220 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
221 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
222 centimeters, respectively. This converts the number to a real that
223 is the internal representation of dimensions.
229 Begins and ends with the `@code{"}' character. To include a `@code{"}'
230 character in a string write `@code{\"}'. Various other backslash
231 sequences have special interpretations as in the C language. A string
232 that contains no spaces can be written without the quotes. See
233 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
234 depending on the situation. Strings can be concatenated with the
237 The tokenizer accepts the following commands. They have no grammatical
238 function, hence they can appear anywhere in the input.
241 \maininput@keyindex{maininput}
244 This command is used in init files to signal that the user file must
245 be read. This command cannot be used in a user file.
247 @unnumberedsubsec file inclusion
250 \include@keyindex{include} @var{file}
253 Include @var{file}. The argument @var{file} may be a quoted string (an
254 unquoted string will not work here!) or a string identifier. The full
255 filename including the @file{.ly} extension must be given,
257 @unnumberedsubsec Version information
260 \version@keyindex{version} @var{string} ;
263 Specify the version of LilyPond that a file was written for. The
264 argument is a version string in quotes, for example @code{"1.2.0"}.
265 This is used to detect invalid input, and to aid
266 @code{convert-ly}, a tool that automatically upgrades input files.
270 @cindex other languages
272 @node Other languages, , , Reference Manual
274 Note name definitions have been provided in various languages.
275 Simply include the language specific init file. For example:
276 `@code{\include "english.ly"}'. The available language files and the
277 names they define are:
280 Note Names sharp flat
281 nederlands.ly c d e f g a bes b -is -es
282 english.ly c d e f g a bf b -s/-sharp -f/-flat
283 deutsch.ly c d e f g a b h -is -es
284 norsk.ly c d e f g a b h -iss/-is -ess/-es
285 svenska.ly c d e f g a b h -iss -ess
286 italiano.ly do re mi fa sol la sib si -d -b
287 catalan.ly do re mi fa sol la sib si -d/-s -b
290 Pitch names can be redefined using the @code{\pitchnames} command, see
293 @cindex Lexical Modes
297 @node Lexical modes, , , Reference Manual
299 To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
300 special input modes on top of the default mode. In each mode, words
301 are identified on the input. If @code{"word"} is encountered, it is
302 treated as a string. If @code{\word} is encountered, it is treated as
303 a keyword or as an identifier. The behavior of the modes differs in
304 two ways: Different modes treat unquoted words differently, and
305 different modes have different rules for deciding what is a word.
311 At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
312 mode, a word is an alphabetic character followed by alphanumeric
313 characters. If @code{word} is encountered on the input it is
319 Note mode is introduced by the keyword
320 @code{\notes}@keyindex{notes}. In Note mode, words can only
321 contain alphabetic characters. If @code{word} is encountered,
322 LilyPond first checks for a notename of @code{word}. If no
323 notename is found, then @code{word} is treated as a string.
325 Since combinations of numbers and dots are used for indicating
326 durations, it is not possible to enter real numbers in this mode.
331 Chord mode is introduced by the keyword
332 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
333 words are also looked up in a chord modifier table (containing
334 @code{maj}, @code{dim}, etc).
336 Since combinations of numbers and dots are used for indicating
337 durations, you can not enter real numbers in this mode. Dashes
338 and carets are used to indicate chord additions and subtractions,
339 so scripts can not be entered in Chord mode.
344 Lyrics mode is introduced by the keyword
345 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
346 easy to include punctuation and diacritical marks in words. A
347 word in Lyrics mode begins with: an alphabetic character,
348 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
349 control characters @code{^A} through @code{^F}, @code{^Q} through
350 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
351 over 127, or a two-character combination of a backslash followed
352 by one of `@code{`}', `@code{'}', `@code{"}', or
353 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
354 enter lyrics in @TeX{} format or a standard encoding without
355 needing quotes. The precise definition of this mode indeed is
356 ludicrous. This will remain so until the authors of LilyPond
357 acquire a deeper understanding of character encoding, or someone
358 else steps up to fix this.}
360 Subsequent characters of a word can be any character that is not
361 a digit and not white space. One important consequence of this
362 is that a word can end with `@code{@}}', which may be confusing if
363 you thought the closing brace was going to terminate Lyrics
364 mode.@footnote{LilyPond will issue a warning, though.} Any
365 `@code{_}' character which appears in an unquoted word is
366 converted to a space. This provides a mechanism for introducing
367 spaces into words without using quotes. Quoted words can also be
368 used in Lyrics mode to specify words that cannot be written with
369 the above rules. Here are some examples. Not all of these words
370 are printable by @TeX{}.
374 2B_||_!2B % not a word because it starts with a digit
375 ``Hello'' % not a word because it starts with `
376 _ _ _ _ % 4 words, each one a space
379 Since combinations of numbers and dots are used for indicating
380 durations, you can not enter real numbers in this mode.
383 [todo: include short table showign differences]
385 @node Types, , , Reference Manual
390 [say something about types]
392 All of the information in a LilyPond input file, is represented as a
393 Scheme value. In addition to normal Scheme data types (such as pair,
394 number, boolean, etc.), LilyPond has a number of specialized data types,
399 @item Music: see @ref{Music expressions}
401 @item Translator_def:
402 See section @ref{contextdefs} for more information
407 @item Music_output_def (TODO: this is not really a Scheme object
408 yet. Nevertheless, you can use identifiers to make references to them )
409 @item Moment (rational number)
412 LilyPond also includes some transient object types. Objects of these
413 types are built during a LilyPond run, and do not `exist' per se within
414 your input file. These objects are created as a result of your input
415 file, so you can include commands in the input to manipulate them,
416 during a lilypond run.
419 @item Grob: short for Graphical object. See @ref{Grobs}.
420 @item Molecule: device-independent page output object,
421 including dimensions. Produced by some Grob functions
423 @item Translator: object that produces audio objects or Grobs.
424 @item Font_metric: object representing a font. (Not yet user
427 @c @item Audio_element: (todo, smobme)
430 Identifiers allow objects to be assigned to names during the parse
431 stage. To assign an identifier, you use `@var{name}=@var{value}' and to
432 refer to an identifier, you preceed its name with a backslash:
433 `@code{\}@var{name}'. Identifier assignments must appear at top level
434 in the @emph{Lilypond} file. Semicolons are forbidden after assignments
435 appearing at top level but they are obligatory after assignments
436 appearing in the @code{\paper} block, see Section @ref{Page layout}.
438 @var{value} is any valid Scheme value or any of the input-types listed
441 An identifier can be created with any string for its name, but you will
442 only be able to refer to identifiers whose names begin with a letter,
443 being entirely alphanumeric. It is impossible to refer to an identifier
444 whose name is the same as the name of a keyword.
446 The right hand side of an identifier assignment is parsed completely
447 before the assignment is done, so it is allowed to redefine an
448 identifier in terms of its old value, e.g.
454 When an identifier is referenced, the information it points to is
455 copied. For this reason, an identifier reference must always be the
456 first item in a block.
460 \paperIdent % wrong and invalid
464 \paperIdent % correct
470 @node Music expressions, , , Reference Manual
471 @section Music expressions
473 @cindex music expressions
475 Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
476 lyric syllables are music expressions (the atomic
478 @cindex atomic music expressions
479 and you can combine music expressions to form new ones. This example
480 forms a compound expressions out of the quarter @code{c} note and a
484 \sequential @{ c4 d4 @}
487 The meaning of this compound expression is to play the `@code{c}'
488 first, and then the `@code{d}' (as opposed to playing them
489 simultaneously, for instance).
491 Atomic music expression are discussed in
492 subsection @ref{Atomic music expressions}. Compound music expressions are
493 discussed in subsection @ref{Compound music expressions}.
497 @node Atomic music expressions, , , Reference Manual
498 @section Atomic music expressions
508 The syntax for pitch specification is
512 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
515 @var{octave} is specified by an integer, zero for the octave
516 containing middle C. @var{note} is a number from 0 to 7, with 0
517 corresponding to C and 7 corresponding to B. The shift is zero for a
518 natural, negative to add flats, or positive to add sharps.
520 In Note and Chord mode, pitches may be designated by names. See
521 section @ref{Other languages} for pitch names in different languages.
523 The syntax for duration specification is
526 \duration@keyindex{duration}
527 @{ @var{length} @var{dotcount} @}
530 @var{length} is the negative logarithm (base 2) of the duration:
531 1 is a half note, 2 is a quarter note, 3 is an eighth
532 note, etc. The number of dots after the note is given by
535 In Note, Chord, and Lyrics mode, durations may be designated by
539 @node Note specification, , , Reference Manual
541 @cindex note specification
545 @cindex entering notes
547 A note specification has the form
550 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
553 The pitch of the note is specified by the note's name.
556 The default names are the Dutch note names. The notes are specified
557 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
558 octave below middle C and the letters span the octave above that C.
560 @cindex notenames!Dutch
561 a sharp is formed by adding `@code{-is}' to the end of a pitch name. A
562 flat is formed by adding `@code{-es}'. Double sharps and double flats
563 are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}'
564 and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch,
565 but both forms will be accepted.
567 LilyPond has predefined sets of notenames for various languages. See
568 @ref{Other languages}.
572 The optional octave specification takes the form of a series of
573 single quote (`@code{'}@indexcode{'}') characters or a series of comma
574 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
575 octave; each @code{,} lowers the pitch by an octave.
577 @lilypond[fragment,verbatim,center]
578 c' d' e' f' g' a' b' c''
581 @lilypond[fragment,verbatim,center]
582 cis' dis' eis' fis' gis' ais' bis'
585 @lilypond[fragment,verbatim,center]
586 ces' des' es' fes' ges' as' bes'
589 @lilypond[fragment,verbatim,center]
590 cisis' eisis' gisis' aisis' beses'
593 @lilypond[fragment,verbatim,center]
594 ceses' eses' geses' ases' beses'
597 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
598 will determine what accidentals to typeset depending on the key and
599 context. A reminder accidental
600 @cindex reminder accidental
602 forced by adding an exclamation mark `@code{!}' after the pitch. A
603 cautionary accidental,
604 @cindex cautionary accidental
606 accidental within parentheses can be obtained by adding the question
607 mark `@code{?}@indexcode{?}' after the pitch.
609 @lilypond[fragment,verbatim,center]
610 cis' d' e' cis' c'? d' e' c'!
616 Durations are entered as their reciprocal values. For notes longer
617 than a whole note, use identifiers.
623 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
632 \notes \relative c'' {
634 a1 a2 a4 a8 a16 a32 a64 a64
639 \remove "Clef_engraver";
640 \remove "Staff_symbol_engraver";
651 r1 r2 r4 r8 r16 r32 r64 r64
660 \notes \relative c'' {
662 r1 r2 r4 r8 r16 r32 r64 r64
665 loose_column_distance = 2.5 * \staffspace;
669 \remove "Clef_engraver";
670 \remove "Staff_symbol_engraver";
671 \remove "Bar_engraver";
678 If the duration is omitted then it is set equal to the previous
679 duration. If there is no previous duration, a quarter note is
680 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
681 to obtain dotted note lengths.
683 @lilypond[fragment,verbatim,center]
687 You can alter the length of duration by writing
688 `@code{*}@var{fraction}' after it. This will not affect the
689 appearance of note heads or rests.
692 Rests are entered like notes, with note name `@code{r}@indexcode{r}', or
693 `@code{R}@indexcode{R}'. There is also a note name
694 `@code{s}@indexcode{s}', which produces a space of the specified
695 duration. `@code{R}' is specifically meant for entering parts: the
696 @code{R} rest can expand to fill a score with rests, or it can be
697 printed as a single multimeasure rest.
699 You can control the expansion by setting the property
700 @code{Score.skipBars}. If this is set to true, Lily will not expand
701 empty measures, and the multimeasure rests automatically adds the
704 Note that there is currently no way to condense multiple rests into a
705 single multimeasure rest.
709 @cindex lyrics expressions
711 Syllables are entered like notes, with pitches replaced by text. For
712 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
713 with quarter note duration. Note that the hyphen has no special
714 meaning for lyrics, and does not introduce special symbols. See
715 section @ref{Lexical modes} for a description of what is interpreted as
718 Spaces can be introduced into a lyric either by using quotes
719 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
720 not4}'. All unquoted underscores are converted to spaces. Printing
721 lyrics is discussed in section @ref{lyricprint}.
728 \property@keyindex{property}
729 @var{contextname}.@var{propname} = @var{value}
732 Sets the @var{propname} property of the context @var{contextname} to
733 the specified @var{value}. All three arguments are strings.
734 Depending on the context, it may be necessary to quote the strings or
735 to leave space on both sides of the dot.
739 @cindex translator switches
742 \translator@keyindex{translator}
743 @var{contexttype} = @var{name}
746 A music expression indicating that the context which is a direct
747 child of the a context of type @var{contexttype} should be shifted to
748 a context of type @var{contexttype} and the specified name.
750 Usually this is used to switch staffs in Piano music, e.g.
753 \translator Staff = top @var{Music}
757 @cindex output properties
760 These allow you to tweak what is happening in the back-end
761 directly. If you want to control every detail of the output
762 formatting, this is the feature to use. The downside to this is that
763 you need to know exactly how the backend works. Example:
766 @lilypond[fragment,verbatim]
768 \context Staff \outputproperty
769 #(make-type-checker 'Note_head)
770 #'extra-offset = #'(5.0 . 7.5)
774 This selects all note heads occurring at current staff level, and sets
775 the extra-offset of those heads to (5,7.5), shifting them up and
778 Use of this feature is entirely on your own risk: if you use this, the
779 result will depend very heavily on the implementation of the backend,
780 which we change regularly and unscrupulously.
785 Commands are music expressions that have no duration.
789 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
792 Change the key signature. @var{type} should be
793 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
794 @var{pitch}-major or @var{pitch}-minor, respectively. The second
795 argument is optional; the default is major keys. The @var{\context}
796 argument can also be given as an integer, which tells the number of
797 semitones that should be added to the pitch given in the subsequent
798 @code{\key}@keyindex{key} commands to get the corresponding major key,
799 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
800 mode names @code{\ionian}@keyindex{ionian},
801 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
802 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
803 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
808 \mark@keyindex{mark} @var{unsigned};
812 Prints a mark over or under the staff. You must add
813 @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for
816 @node barlines, , , Reference Manual
819 \bar@keyindex{bar} @var{bartype};
822 This is a short-cut for doing
824 \property Score.whichBar = @var{bartype}
827 You are encouraged to use @code{\repeat} for repetitions. See
828 @ref{Repeats}, and the documentation of @code{whichBar} in
829 @ref{(lilypond-internals)LilyPond context properties}.
833 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
836 A short-cut for doing
838 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
841 See the documentation of @code{timeSignatureFraction}
845 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
848 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
849 requests output with 76 quarter notes per minute.
852 \partial@keyindex{partial} @var{duration} @code{;}
858 \property Score.measurePosition = @var{length of duration}
861 See the documentation of @code{measurePosition}.
869 @code{|}@indexcode{|}
874 @cindex shorten measures
878 `@code{|}' is a bar check. Whenever a bar check is encountered during
879 interpretation, a warning message is issued if it doesn't fall at a
880 measure boundary. This can help you finding errors in the input.
881 Depending on the value of @code{barCheckNoSynchronize}
882 @indexcode{barCheckNoSynchronize} The beginning of the measure will be
883 relocated, so this can also be used to shorten measures.
887 \penalty@keyindex{penalty} @var{int} @code{;}
890 Discourage or encourage line breaks. See identifiers
891 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
892 section [on identifiers] [FIXME].
895 \clef@keyindex{clef} @var{clefname} @code{;}
901 \property Clef.clefGlyph = @var{symbol associated with clefname}
902 \property Clef.clefPosition = @var{clef Y-position for clefname}
903 \property Clef.clefOctavation = @var{extra pitch of clefname}
906 Supported clef-names include
912 \skip@keyindex{skip} @var{duration} @code{;}
915 Skips the amount of time specified by @var{duration}. If no other
916 music is played, a gap will be left for the skipped time with no
917 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
918 this has the same effect as the space rest `@code{s}'.
923 @node Manual beams, , , Reference Manual
925 A beam is specified by surrounding the beamed notes with brackets
926 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
928 @lilypond[fragment,verbatim,center]
929 [a'8 a'] [a'16 a' a' a']
932 Some more elaborate constructions:
934 @lilypond[fragment,verbatim,center]
935 [a'16 <a' c''> c'' <a' c''>]
936 \times 2/3 { [e'8 f' g'] }
939 Beaming can be generated automatically; see section @ref{Automatic Beaming}.
942 To place tremolo marks between notes, use @code{\repeat} with tremolo
944 @cindex tremolo beams
945 To create tremolo beams on a single note, simply attach
946 `@code{:}@var{length}' to the note itself.
948 @lilypond[fragment,verbatim,center]
949 \repeat "tremolo" 8 { c16 d16 }
950 \repeat "tremolo" 4 { c16 d16 }
953 @lilypond[fragment,verbatim,center]
958 @cindex --@@@code{-}@code{-}
966 The syntax for an extender mark is `@code{__}'. This syntax can only
967 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
968 a hyphen that will be printed between two lyric syllables) is
974 A tie connects two adjacent note heads of the same pitch. When used
975 with chords, it connects all of the note heads whose pitches match.
976 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
977 If you try to tie together chords which have no common pitches, a
978 warning message will appear and no ties will be created.
980 @lilypond[fragment,verbatim,center]
981 e' ~ e' <c' e' g'> ~ <c' e' g'>
986 [TODO: explain Requests]
989 @cindex articulations
995 A variety of symbols can appear above and below notes to indicate
996 different characteristics of the performance. These symbols can be
997 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
998 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
999 forced to appear above or below the note by writing
1000 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1001 respectively. Here is a chart showing symbols above notes, with the
1002 name of the corresponding symbol appearing underneath.
1008 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1009 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1010 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1011 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1012 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1013 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1014 c''-\thumb c''-\segno c''-\coda
1016 \context Lyrics \lyrics {
1017 accent__ marcato__ staccatissimo__ fermata
1018 stopped__ staccato__ tenuto__ upbow
1019 downbow__ lheel__ rheel__ ltoe
1020 rtoe__ turn__ open__ flageolet
1021 reverseturn__ trill__ prall__ mordent
1022 prallprall__ prallmordent__ uprall__ downprall
1023 thumb__ segno__ coda
1027 linewidth = 5.875\in;
1034 In addition, it is possible to place arbitrary strings of text or
1035 @TeX{} above or below notes by using a string instead of an
1036 identifier: `@code{c^"text"}'. Fingerings
1039 placed by simply using digits. All of these note ornaments appear in
1040 the printed output but have no effect on the MIDI rendering of the
1043 To save typing, fingering instructions (digits 0 to 9 are
1044 supported) and single characters shorthands exist for a few
1051 \property Voice.textStyle = typewriter
1057 c''4-^_"c-\\^{ }" s4
1064 linewidth = 5.875 \in;
1071 Dynamic marks are specified by using an identifier after a note:
1072 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1073 The available dynamic marks are:
1074 @code{\ppp}@keyindex{ppp},
1075 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1076 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1077 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1078 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1079 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1080 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1081 @code{\rfz}@keyindex{rfz}.
1086 \textscript@keyindex{textscript} @var{text} @var{style}
1089 Defines a text to be printed over or under a note. @var{style} is a
1090 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1091 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1093 You can attach a general textscript request using this syntax:
1098 c4-\textscript "6" "finger"
1099 c4-\textscript "foo" "normal"
1104 This is equivalent to `@code{c4-6 c4-"foo"}'.
1111 \script@keyindex{script} @var{alias}
1114 Prints a symbol above or below a note. The argument is a string
1115 which points into the script-alias table defined in @file{script.scm}.
1116 The scheme definitions specify whether the symbol follows notes into
1117 the staff, dependence of symbol placement on staff direction, and a
1118 priority for placing several symbols over one note. Usually the
1119 @code{\script}@keyindex{script} keyword is not used directly. Various
1120 helpful identifier definitions appear in @file{script.ly}.
1125 Slurs connects chords and try to avoid crossing stems. A slur is
1126 started with `@code{(}' and stopped with `@code{)}'. The
1127 starting `@code{(}' appears to the right of the first note in
1128 the slur. The terminal `@code{)}' appears to the left of the
1129 first note in the slur. This makes it possible to put a note in
1130 slurs from both sides:
1132 @lilypond[fragment,verbatim,center]
1133 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1139 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1140 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1141 @code{\decr}@keyindex{decr} and terminated with
1142 @code{\rced}@keyindex{rced}. There are also shorthands for these
1143 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1144 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1145 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1146 must go before the last note of the dynamic mark whereas @code{\rc}
1147 and @code{\rced} go after the last note. Because these marks are
1148 bound to notes, if you want to get several marks during one note, you
1149 must use spacer notes.
1151 @lilypond[fragment,verbatim,center]
1152 c'' \< \! c'' d'' \decr e'' \rced
1153 < f''1 { s4 \< \! s2 \> \! s4 } >
1159 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1162 Define a spanning request. The @var{startstop} parameter is either -1
1163 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1164 @var{type} is a string that describes what should be started.
1165 Supported types are @code{crescendo}, @code{decrescendo},
1166 @code{beam}, @code{slur}. This is an internal command. Users should
1167 use the shorthands which are defined in the initialization file
1170 You can attach a (general) span request to a note using
1172 @lilypond[fragment,verbatim,center]
1173 c'4-\spanrequest \start "slur"
1174 c'4-\spanrequest \stop "slur"
1177 The slur syntax with parentheses is a shorthand for this.
1181 @cindex tremolo marks
1183 @node stem tremolo, , , Reference Manual
1185 Tremolo marks can be printed on a single note by adding
1186 `@code{:}[@var{length}]' after the note. The length must be at
1187 least 8. A @var{length} value of 8 gives one line across
1188 the note stem. If the length is omitted, then the last value is
1189 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1192 @lilypond[verbatim,fragment,center]
1198 @node Compound music expressions, , , Reference Manual
1199 @section Compound music expressions
1201 @cindex compound music expressions
1203 Music expressions are compound data structures. You can nest music
1204 expressions any way you like. This simple example shows how three
1205 chords can be expressed in two different ways:
1207 @lilypond[fragment,verbatim,center]
1208 \notes \context Staff {
1210 <a c'> <b d' > <c' e'>
1211 < { a b c' } { c' d' e' } >
1215 @cindex context selection
1216 @c @keyindex{context}
1219 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1222 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1223 If the context does not exist, it will be created. The new context
1224 can optionally be given a name.
1230 Mode switching keywords form compound music expressions: @code{\notes}
1231 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1232 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1233 These expressions do not add anything to the meaning of their
1234 arguments. They are just a way to indicate that the arguments should
1235 be parsed in indicated mode. See @ref{Lexical modes} for more
1236 information on modes.
1238 @cindex sequential music
1244 \sequential@keyindex{sequential}
1245 @code{@{} @var{musicexprlist} @code{@}}
1248 This means that list should be played or written in sequence, i.e.,
1249 the second after the first, the third after the second. The duration
1250 of sequential music is the the sum of the durations of the elements.
1251 There is a shorthand, which leaves out the keyword:
1255 @code{@{} @var{musicexprlist} @code{@}}
1260 @cindex simultaneous music
1267 \simultaneous@keyindex{simultaneous}
1268 @code{@{} @var{musicexprlist} @code{@}}
1271 It constructs a music expression where all of its arguments start at
1272 the same moment. The duration is the maximum of the durations of the
1273 elements. The following shorthand is a common idiom:
1277 @code{<} @var{musicexprlist} @code{>}
1280 If you try to use a chord as the first thing in your score, you might
1281 get multiple staffs instead of a chord.
1283 @lilypond[verbatim,center]
1292 This happens because the chord is interpreted by a score context.
1293 Each time a note is encountered a default Voice context (along with a
1294 Staff context) is created. The solution is to explicitly instantiate
1297 @lilypond[verbatim,center]
1299 \notes\context Voice <c''4 e''>
1308 @cindex relative pitch specification
1310 @node relative, , , Reference Manual
1312 It is easy to get confused by octave changing marks and accidentally
1313 putting a pitch in the wrong octave. A much better way of entering a
1314 note's octave is `the relative octave' mode.
1318 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1321 The octave of notes that appear in @var{musicexpr} are calculated as
1322 follows: If no octave changing marks are used, the basic interval
1323 between this and the last note is always taken to be a fourth or
1324 less.@footnote{The interval is determined without regarding
1325 accidentals. A @code{fisis} following a @code{ceses} will be put above
1326 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1327 can then be added to raise or lower the pitch by an extra octave.
1328 Upon entering relative mode, an absolute starting pitch must be
1329 specified that will act as the predecessor of the first note of
1332 Entering scales is straightforward in relative mode.
1334 @lilypond[fragment,verbatim,center]
1340 And octave changing marks are used for intervals greater than a fourth.
1342 @lilypond[fragment,verbatim,center]
1344 c g c f, c' a, e'' }
1347 If the preceding item is a chord, the first note of the chord is used
1348 to determine the first note of the next chord. But other notes
1349 within the second chord are determined by looking at the immediately
1352 @lilypond[fragment,verbatim,center]
1360 The pitch after the @code{\relative} contains a notename. To parse
1361 the pitch as a notename, you have to be in note mode, so there must
1362 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1365 The relative conversion will not affect @code{\transpose} or
1366 @code{\relative} sections in its argument. If you want to use
1367 relative within transposed music, you must place an additional
1368 @code{\relative} inside the @code{\transpose}.
1370 It is strongly recommended to use relative pitch mode: less work,
1371 less error-prone, and more readable.
1375 Chord names are a way to generate simultaneous music expressions that
1376 correspond with traditional chord names. It can only be used in
1377 Chord mode (see section @ref{Lexical modes}).
1381 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1384 @var{tonic} should be the tonic note of the chord, and @var{duration}
1385 is the chord duration in the usual notation. There are two kinds of
1386 modifiers. One type is @emph{chord additions}, which are obtained by
1387 listing intervals separated by dots. An interval is written by its
1388 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1389 lowering by half a step. Chord additions has two effects: It adds
1390 the specified interval and all lower odd numbered intervals to the
1391 chord, and it may lower or raise the specified interval. Intervals
1392 must be separated by a dot (`@code{.}').
1396 @lilypond[fragment,verbatim]
1400 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1407 The second type of modifier that may appear after the `@code{:}' is a
1408 named modifier. Named modifiers are listed in the file
1409 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1410 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1411 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1412 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1413 which replaces the 5th with a 4th.
1417 @lilypond[fragment,verbatim]
1420 c1:m c:min7 c:maj c:aug c:dim c:sus
1428 Chord subtractions are used to eliminate notes from a chord. The
1429 notes to be subtracted are listed after a `@code{^}' character,
1432 @lilypond[fragment,verbatim,center]
1440 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1441 the name of a single note to a chord. This has the effect of
1442 lowering the specified note by an octave so it becomes the lowest
1443 note in the chord. If the specified note is not in the chord, a
1444 warning will be printed.
1446 @lilypond[fragment,verbatim,center]
1455 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1456 the name of a single note to a chord. This has the effect of
1457 adding the specified note to the chord, lowered by an octave,
1458 so it becomes the lowest note in the chord.
1460 @lilypond[fragment,verbatim,center]
1469 Throughout these examples, chords have been shifted around the staff
1470 using @code{\transpose}.
1472 You should not combine @code{\relative} with named chords.
1478 Tuplets are made out of a music expression by multiplying their
1479 duration with a fraction.
1483 \times@keyindex{times} @var{fraction} @var{musicexpr}
1486 The duration of @var{musicexpr} will be multiplied by the fraction.
1487 In print, the fraction's denominator will be printed over the notes,
1488 optionally with a bracket. The most common tuplet is the triplet in
1489 which 3 notes have the length of 2, so the notes are 2/3 of
1490 their written length:
1492 @lilypond[fragment,verbatim,center]
1493 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1502 \grace@keyindex{grace} @var{musicexpr}
1505 A grace note expression has duration 0; the next real note is
1506 assumed to be the main note.
1508 You cannot have the grace note after the main note, in terms of
1509 duration, and main notes, but you can typeset the grace notes to the
1510 right of the main note using the property
1511 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1513 When grace music is interpreted, a score-within-a-score is set up:
1514 @var{musicexpr} has its own time bookkeeping, and you could (for
1515 example) have a separate time signature within grace notes. While in
1516 this score-within-a-score, you can create notes, beams, slurs, etc.
1517 Unbeamed eighth notes and shorter by default have a slash through the
1518 stem. This behavior can be controlled with the
1519 @code{flagStyle}@indexcode{flagStyle} property.
1523 @lilypond[fragment,verbatim]
1525 \grace c8 c4 \grace { [c16 c16] } c4
1526 \grace { \property Grace.flagStyle = "" c16 } c4
1532 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1536 @code{\grace @{ \grace c32 c16 @} c4}
1539 may result in run-time errors of LilyPond. Since the meaning of such
1540 a construct is unclear, we don't consider this a loss. Similarly,
1541 juxtaposing two @code{\grace} sections is syntactically valid, but
1542 makes no sense and may cause runtime errors.
1544 Ending a staff or score with grace notes may also generate a run-time
1545 error, since there will be no main note to attach the grace notes to.
1551 @node Repeats, , , Reference Manual
1553 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1554 keyword. Since repeats look and sound differently when played or
1555 printed, there are a few different variants of repeats.
1559 Repeated music is fully written (played) out. Useful for MIDI
1563 This is the normal notation: Repeats are not written out, but
1564 alternative endings (voltas) are printed, left to right.
1567 Alternative endings are written stacked, which is useful for
1571 The syntax for repeats is
1575 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1578 If you have alternative endings, you may add
1582 \alternative@keyindex{alternative}
1583 @code{@{} @var{alternative1}
1585 @var{alternative3} @dots{} @code{@}}
1588 where each @var{alternative} is a Music expression.
1590 Normal notation repeats are used like this:
1594 @lilypond[fragment,verbatim]
1596 \repeat volta 2 { c'4 d' e' f' }
1597 \repeat volta 2 { f' e' d' c' }
1602 With alternative endings:
1606 @lilypond[fragment,verbatim]
1608 \repeat volta 2 {c'4 d' e' f'}
1609 \alternative { {d'2 d'} {f' f} }
1614 Folded repeats look like this:@footnote{Folded repeats offer little
1615 more over simultaneous music. However, it is to be expected that
1616 more functionality -- especially for the MIDI backend -- will be
1621 @lilypond[fragment,verbatim]
1623 \repeat fold 2 {c'4 d' e' f'}
1624 \alternative { {d'2 d'} {f' f} }
1631 @lilypond[fragment,verbatim]
1635 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1636 \alternative { { g4 g g } { a | a a a a | b1 } }
1643 If you don't give enough alternatives for all of the repeats, then
1644 the first alternative is assumed to be repeated often enough to equal
1645 the specified number of repeats.
1649 @lilypond[fragment,verbatim]
1652 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1653 \alternative { { g4 g g }
1654 {\partial 1; e4 e e }
1655 {\partial 1; a a a a | b1 } }
1662 It is possible to nest @code{\repeat}. This is not entirely
1663 supported: the notes will come be in the right places, but the repeat
1668 @cindex transposition of pitches
1670 @node transpose, , , Reference Manual
1672 A music expression can be transposed with
1673 @code{\transpose}@keyindex{transpose}. The syntax is
1677 \transpose @var{pitch} @var{musicexpr}
1680 This means that middle C in @var{musicexpr} is transposed to
1683 @code{\transpose} distinguishes between enharmonic pitches: both
1684 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1685 a tone. The first version will print sharps and the second version
1690 @lilypond[fragment,verbatim]
1693 { \key e \major; c d e f }
1695 \transpose des'' { \key e \major; c d e f }
1696 \transpose cis'' { \key e \major; c d e f }
1702 If you want to use both @code{\transpose} and @code{\relative}, then
1703 you must use @code{\transpose} first. @code{\relative} will have no
1704 effect music that appears inside a @code{\transpose}.
1708 @cindex automatic lyric durations
1710 If you have lyrics that are set to a melody, you can import the
1711 rhythm of that melody into the lyrics using @code{\addlyrics}.
1712 @keyindex{addlyrics} The syntax for this is
1716 \addlyrics @var{musicexpr1 musicexpr2}
1719 This means that both @var{musicexpr1} and @var{musicexpr2} are
1720 interpreted, but that every non-command atomic music expression
1721 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1722 of @var{musicexpr1}.
1724 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1725 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1730 @lilypond[verbatim,fragment]
1733 \property Voice.automaticMelismata = ##t
1734 c8 () cis d8. e16 f2
1736 \context Lyrics \lyrics {
1742 You should use a single rhythm melody, and single rhythm lyrics (a
1743 constant duration is the obvious choice). If you do not, you will get
1744 undesired effects when using multiple stanzas:
1748 @lilypond[verbatim,fragment]
1751 c8 () cis d8. e16 f2
1753 \context Lyrics \lyrics
1760 It is valid (but probably not very useful) to use notes instead of
1761 lyrics for @var{musicexpr2}.
1766 @node Ambiguities, , , Reference Manual
1767 @section Ambiguities
1771 The grammar contains a number of ambiguities.@footnote{The authors
1772 hope to resolve them at a later time.}
1775 @item The assignment
1781 can be interpreted as making a string identifier @code{\foo}
1782 containing @code{"bar"}, or a music identifier @code{\foo}
1783 containing the syllable `bar'.
1785 @item The assignment
1791 can be interpreted as making an integer identifier
1792 containing -6, or a Request identifier containing the
1793 fingering `6' (with neutral direction).
1795 @item If you do a nested repeat like
1807 then it is ambiguous to which @code{\repeat} the
1808 @code{\alternative} belongs. This is the classic if-then-else
1809 dilemma. It may be solved by using braces.
1811 @item (an as yet unidentified ambiguity :-)
1816 @node Notation conversion specifics, , , Reference Manual
1817 @section Notation conversion specifics
1820 @node Automatic Beaming, , , Reference Manual
1821 @cindex automatic beam generation
1824 @c beamAuto vs autoBeam ?
1826 By default, LilyPond will generate beams automatically. This feature
1827 can be disabled by setting the
1828 @code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to @code{#f}.
1829 It can be overridden for specific cases by specifying explicit beams.
1832 A large number of Voice properties are used to decide how to generate
1833 beams. Their default values appear in @file{scm/auto-beam.scm}. In
1834 general, beams can begin anywhere, but their ending location is
1835 significant. Beams can end on a beat, or at durations specified by the
1837 @code{Voice.autoBeamSettings}@indexcode{Voice.autoBeamSettings}.
1838 To end beams every quarter note, for example, you could set the property
1839 @code{(end * * * *)} @indexcode{(end * * * *)} to `@code{(make-moment 1
1840 4)}'. To end beams at every three eighth notes you would set
1841 it to `@code{(make-moment 1 8)}'.
1842 The same syntax can be used to specify beam
1843 starting points using
1844 @code{(begin * * * *)}@indexcode{(begin * * * *)}, eg:
1847 \property Voice.autoBeamSettings \override
1848 #'(end * * * *) = #(make-moment 1 4)
1849 \property Voice.autoBeamSettings \override
1850 #'(begin * * * *) = #(make-moment 1 8)
1854 To allow different settings for different time signatures, instead of
1855 the first two asterisks @code{* *} you can specify a time signature; use
1856 @code{(end N M * *)} to restrict the definition to
1857 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
1858 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
1860 To allow different endings for notes of different durations, instead of
1861 th last two asterisks you can specify a duration; use @code{(end * * N
1862 M)} to restrict the definition to beams that contain notes of
1863 `@var{N}@code{/}@var{M}' duration.
1865 For example, to specify beam endings for beams that contain 32nd notes,
1866 you would use @code{(end * * 1 32)}.
1869 @node Chord Names, , , Reference Manual
1873 @cindex printing!chord names
1875 For displaying printed chord names, use the
1876 @code{ChordNames}@indexcode{ChordNames} and
1877 @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords
1878 may be entered either using the notation described above, or directly
1879 using simultaneous music.
1884 \chords {a1 b c} <d f g> <e g b>
1888 \context ChordNamesVoice \scheme
1889 \context Staff \transpose c'' \scheme
1891 \paper { linewidth = -1.; }
1897 You can make the chord changes stand out more by setting property
1898 @code{ChordNames.chordChanges} to @code{#t}. This will only display
1899 chord names when there's a change in the chords scheme, but always
1900 display the chord name after a line break:
1906 % \property ChordNames.chordChanges = ##t
1907 c1:m \break c:m c:m c:m d
1912 \context ChordNamesVoice \scheme
1913 \context Staff \transpose c'' \scheme
1916 linewidth = 40 * \staffspace;
1924 LilyPond examines chords specified as lists of notes to determine a
1925 name to give the chord. LilyPond will not try to
1926 identify chord inversions or added base, which may result in strange
1927 chord names when chords are entered as a list of pitches:
1930 @lilypond[verbatim,center]
1939 \context ChordNamesVoice \scheme
1940 \context Staff \scheme
1942 \paper { linewidth = -1.; }
1947 To specify chord inversions, append @code{/<notename>}. To specify an
1948 added bass note, append @code{/+<notename}:
1951 @lilypond[verbatim,center]
1958 \context ChordNames \scheme
1959 \context Staff \transpose c'' \scheme
1961 \paper { linewidth = -1.; }
1966 The chord names that LilyPond should print are fully customisable. The
1967 default code can be found in @file{scm/chord-name.scm}. Chord names are
1968 based on Banter style naming, which is unambiguous and has a logical
1969 structure. Typical American style chord names are implemented as a
1970 variation on Banter names, they can be selected by setting poperty
1971 @code{ChordName.style} to @code{american}:
1975 \include "english.ly"
1980 df:m5- % Diminished triad
1981 c:5^3 % Root-fifth chord
1982 c:4^3 % Suspended fourth triad
1983 c:5+ % Augmented triad
1985 c:m5-.7- % Diminished seventh
1986 c:7+ % Major seventh
1987 c:7.4^3 % Dominant seventh suspended fourth
1988 c:5+.7 % Augmented dominant seventh
1989 c:m5-.7 % "Half" diminished seventh
1990 c:5-.7 % Dominant seventh flat fifth
1991 c:5-.7+ % Major seventh flat fifth
1992 c:m7+ % Minor-major seventh
1993 c:m7 % Minor seventh
1994 c:7 % Dominant seventh
1997 c:9^7 % Major triad w/added ninth
1998 c:6.9^7 % Six/Nine chord
1999 c:9 % Dominant ninth
2000 c:7+.9 % Major ninth
2001 c:m7.9 % Minor ninth
2006 \context ChordNames \scheme
2007 \context Staff \transpose c'' \scheme
2012 ChordName \override #'word-space = #1
2013 ChordName \override #'style = #'american
2020 Similarly, Jazz style chord names are implemented as a variation on
2021 American style names:
2027 c:6 % 6 = major triad with added sixth
2028 c:maj % triangle = maj
2033 c:m % m = minor triad
2034 c:m.6 % m6 = minor triad with added sixth
2035 c:m.7+ % m triangle = minor major seventh chord
2043 c:7.5+ % +7 = augmented dominant
2044 c:7.5- % 7b5 = hard diminished dominant
2051 c:13.9-^11 % 7(b9,13)
2052 c:13.9+^11 % 7(#9,13)
2054 c:13-.9-^11 % 7(b9,b13)
2055 c:13-.9+^11 % 7(#9,b13)
2057 % half diminished chords
2058 c:m5-.7 % slashed o = m7b5
2059 c:9.3-.5- % o/7(pure 9)
2062 c:m5-.7- % o = diminished seventh chord
2067 \context ChordNames \scheme
2068 \context Staff \transpose c'' \scheme
2073 ChordName \override #'word-space = #1
2074 ChordName \override #'style = #'jazz
2084 @cindex printing!lyrics
2086 @node lyricprint, , , Reference Manual
2088 Lyric syllables must be interpreted within a @code{Lyrics} context
2090 @cindex context!Lyrics
2093 Here is a full example:
2099 \notes \transpose c'' {
2101 e f g2 | e4 f g2 \bar "|.";
2103 \context Lyrics \lyrics {
2104 Va-4 der Ja- cob Va- der Ja- cob
2105 Slaapt gij nog?2 Slaapt4 gij nog?2
2113 You may want a continuous line after the syllables to show melismata.
2114 To achieve this effect, add a `@code{__}' lyric as a separate word
2115 after the lyric to be extended. This will create an extender, a line
2116 that extends over the entire duration of the lyric. This line will
2117 run all the way to the start of the next lyric, so you may want to
2118 shorten it by using a blank lyric (using `@code{_}').
2125 \notes \relative c'' {
2126 a4 () b () c () d | c () d () b () a | c () d () b () a
2128 \context Lyrics \lyrics {
2129 foo1 __ | bar2. __ _4 | baz1 __
2138 If you want to have hyphens centered between syllables (rather than
2139 attached to the end of the first syllable) you can use the special
2140 `@code{-}@code{-}' lyric as a separate word between syllables. This
2141 will result in a hyphen which length varies depending on the space
2142 between syllables, and which will be centered between the syllables.
2150 \notes \transpose c'' {
2152 e f g2 | e4 f g2 \bar "|.";
2154 \context Lyrics \lyrics {
2155 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2156 Slaapt gij nog?2 | Slaapt4 gij nog?2
2166 @node Notation Contexts, , , Reference Manual
2167 @section Notation Contexts
2169 @cindex notation contexts
2171 Notation contexts are objects that only exist during a run of
2172 LilyPond. During the interpretation phase of LilyPond, the Music
2173 expression contained in a @code{\score} block is interpreted in time
2174 order. This is the order in which humans read, play, and write
2177 A context is an object that holds the reading state of the
2178 expression; it contains information like
2181 @item What notes are playing at this point?
2182 @item What symbols will be printed at this point?
2183 @item In what style will they printed?
2184 @item What is the current key signature, time signature, point within
2188 Contexts are grouped hierarchically: A @code{Voice} context is
2189 contained in a @code{Staff} context (because a staff can contain
2190 multiple voices at any point), a @code{Staff} context is contained in
2191 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2192 these can all contain multiple staffs).
2194 Contexts associated with sheet music output are called @emph{notation
2195 contexts}, those for sound output are called playing contexts.
2197 Contexts are created either manually or automatically. Initially,
2198 the top level music expression is interpreted by the top level
2199 context (the @code{Score} context). When a atomic music expression
2200 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2201 set of contexts is created that can process these atomic expressions,
2207 \score @{ \notes < c4 > @}
2212 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2213 context. When the note `@code{c4}' itself is interpreted, a set of
2214 contexts is needed that will accept notes. The default for this is a
2215 @code{Voice} context, contained in a @code{Staff} context. Creation of
2216 these contexts results in the staff being printed.
2221 You can also create contexts manually, and you probably have to do so
2222 if you want to typeset complicated multiple part material. If a
2223 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2224 during the interpretation phase, the @var{musicexpr} argument will be
2225 interpreted with a context of type @var{name}. If you specify a name,
2226 the specific context with that name is searched.
2228 If a context of the specified type and name can not be found, a new
2229 one is created. For example,
2235 \notes \relative c'' {
2236 c4 <d4 \context Staff = "another" e4> f
2243 In this example, the @code{c} and @code{d} are printed on the
2244 default staff. For the @code{e}, a context Staff called
2245 `@code{another}' is specified; since that does not exist, a new
2246 context is created. Within @code{another}, a (default) Voice context
2247 is created for the @code{e4}. When all music referring to a
2248 context is finished, the context is ended as well. So after the
2249 third quarter, @code{another} is removed.
2251 Almost all music expressions inherit their interpretation context
2252 from their parent. In other words, suppose that the syntax for a
2257 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2260 When the interpretation of this music expression starts, the context
2261 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2264 Lastly, you may wonder, why this:
2270 \notes \relative c'' @{
2278 doesn't result in this:
2283 \notes \relative c'' {
2290 For the @code{c4}, a default @code{Staff} (with a contained
2291 @code{Voice}) context is created. After the @code{c4} ends, no
2292 music refers to this default staff, so it would be ended, with the
2293 result shown. To prevent this inconvenient behavior, the context to
2294 which the sequential music refers is adjusted during the
2295 interpretation. So after the @code{c4} ends, the context of the
2296 sequential music is also the default @code{Voice} context.
2297 The @code{d4} gets interpreted in the same context
2300 Properties that are set in one context are inherited by all of the
2301 contained contexts. This means that a property valid for the
2302 @code{Voice} context can be set in the @code{Score} context (for
2303 example) and thus take effect in all @code{Voice} contexts.
2305 Properties can be preset within the @code{\translator} block
2306 corresponding to the appropriate context. In this case, the syntax
2310 @var{propname} @code{=} @var{value}
2313 This assignment happens before interpretation starts, so a
2314 @code{\property} expression will override any predefined settings.
2316 The property settings are used during the interpretation phase. They
2317 are read by the LilyPond modules where interpretation contexts are
2318 built of. These modules are called @emph{translators}. Translators for
2319 notation are called @emph{engravers}, and translators for sound are
2320 called @emph{performers}.
2322 @mbinclude properties.itely
2324 @node Page layout, , , Reference Manual
2326 @subsection Paper block
2328 The most important output definition is the @code{\paper} block, for
2329 music notation. The syntax is
2332 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2335 where each of the items is one of
2338 @item An assignment. The assignment must be terminated by a
2341 @item A context definition. See section @ref{contextdefs} for
2342 more information on context definitions.
2351 A margin shape declaration. The syntax is
2355 \shape @var{indent1}@code{,} @var{width1}@code{,}
2356 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2361 Each pair of @var{indent} and @var{width} values is a dimension
2362 specifying how far to indent and how wide to make the line.
2363 The indentation and width of successive lines are specified by
2364 the successive pairs of dimensions. The last pair of
2365 dimensions will define the characeristics of all lines beyond
2366 those explicitly specified.
2369 @item \stylesheet declaration. Its syntax is
2371 \stylesheet @var{alist}
2374 See @file{font.scm} for details of @var{alist}.
2377 @subsection Paper variables
2381 The paper block has some variables you may want to use or change:
2384 @item @code{indent}@indexcode{indent}
2385 The indentation of the first line of music.
2387 @item @code{staffspace}@indexcode{staffspace}
2388 The distance between two staff lines, calculated from the center
2389 of the lines. You should use either this or @code{rulethickness}
2390 as a unit for distances you modify.
2392 @item @code{linewidth}@indexcode{linewidth}
2393 Sets the width of the lines. If set to -1.0, a single
2394 unjustified line is produced.
2396 @item @code{textheight}@indexcode{textheight}
2397 Sets the total height of the music on each page. Only used by
2400 @item @code{interscoreline}@indexcode{interscoreline}
2401 Sets the spacing between the score lines. Defaults to 16 pt.
2403 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2404 If set to a positive number, the distance between the score
2405 lines will stretch in order to fill the full page. In that
2406 case @code{interscoreline} specifies the minimum spacing.
2409 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2410 Determines the thickness of staff lines, and also acts as a scaling
2411 parameter for other line thicknesses.
2415 @subsection Line breaks
2418 @cindex breaking lines
2420 Line breaks are normally computed automatically. They are chosen such
2421 that the resulting spacing has low variation, and looks neither cramped
2424 Occasionally you might want to override the automatic breaks; you can do
2425 this by specifying @code{\break} (see also @ref{Pre-defined
2426 Identifiers}). This will force a line break at this point. Do remember
2427 that line breaks can only occur at places where there are barlines. If
2428 you want to have a line break where there is no barline, you can force a
2429 barline by entering @code{\bar "";}.
2431 @subsection Page breaks
2433 Page breaks are normally computed by @TeX{}, so they are not under direct
2434 control. However, you can insert a commands into the .tex output to
2435 instruct @TeX{} where to break pages. For more details, see the
2436 example file @file{input/test/between-systems.ly}
2440 @cindex breaking pages
2443 @subsection Font size
2448 The Feta font provides musical symbols at six different sizes. These
2449 fonts are 11 point, 13 point, 16 point, 20 point,
2450 23 point, and 26 point. The point size of a font is the
2451 height of the five lines in a staff when displayed in the font.
2453 Definitions for these sizes are the files @file{paperSZ.ly}, where
2454 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2455 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2456 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2457 @code{paperTwentysix} are defined respectively. The default
2458 @code{\paper} block is also set.
2460 The font definitions are generated using a Scheme function. For more
2461 details, see the file @file{font.scm}.
2463 @subsection paper size
2468 To change the paper size, you must first set the
2469 @code{papersize}@indexcode{papersize} variable at top level. Set it to
2470 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2471 specification, you must set the font as described above. If you want
2472 the default font, then use the 20 point font. The new paper size will
2473 not take effect if the font is not loaded and selected afterwards.
2477 \include "paper16.ly"
2481 \paper @{ \paperSixteen @}
2485 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2486 will set the paper variables @code{hsize} and @code{vsize} (used by
2489 @node contextdefs, , , Reference Manual
2491 @cindex context definition
2492 @cindex translator definition
2493 @cindex engraver hacking
2496 A notation contexts is defined by the following information
2501 @item The LilyPond modules that do the actual conversion of music to
2502 notation. Each module is a so-called
2507 @item How these modules should cooperate, i.e. which ``cooperation
2508 module'' should be used. This cooperation module is a special
2511 @item What other contexts the context can contain,
2513 @item What properties are defined.
2516 A context definition has this syntax:
2520 \translator @code{@{}
2521 @var{translatorinit} @var{translatormodifierlist}
2525 @var{translatorinit} can be an identifier or of the form
2529 \type @var{typename} @code{;}
2532 @var{typename} is one of
2535 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2536 The standard cooperation engraver.
2538 @item @code{Score_engraver}@indexcode{Score_engraver}
2539 This is cooperation module that should be in the top level context.
2541 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2542 This is a special cooperation module (resembling
2543 @code{Score_engraver}) that is used to created an embedded
2547 @var{translatormodifierlist} is a list of items where each item is
2551 @item @code{\consists} @var{engravername} @code{;}
2552 Add @var{engravername} to the list of modules in this context.
2553 The order of engravers added with @code{\consists} is
2556 @item @code{\consistsend} @var{engravername} @code{;}
2557 Analogous to @code{\consists}, but makes sure that
2558 @var{engravername} is always added to the end of the list of
2561 Some engraver types need to be at the end of the list; this
2562 insures they are put there, and stay there, if a user adds or
2563 removes engravers. This command is usually not needed for
2566 @item @code{\accepts} @var{contextname} @code{;}
2567 Add @var{contextname} to the list of context this context can
2568 contain. The first listed context is the context to create by
2571 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2572 completeness, but is never used in practice.
2575 @item @code{\remove} @var{engravername} @code{;}
2576 Remove a previously added (with @code{\consists}) engraver.
2578 @item @code{\name} @var{contextname} @code{;}
2579 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2580 the name is not specified, the translator won't do anything.
2582 @item @var{propname} @code{=} @var{value} @code{;}
2583 A property assignment. It is allowed to use reals for
2587 In the @code{\paper} block, it is also possible to define translator
2588 identifiers. Like other block identifiers, the identifier can only
2589 be used as the very first item of a translator. In order to define
2590 such an identifier outside of @code{\score}, you must do
2596 foo = \translator @{ @dots{} @}
2603 \translator @{ \foo @dots{} @}
2611 @cindex paper types, engravers, and pre-defined translators
2613 Some pre-defined identifiers can simplify modification of
2614 translators. The pre-defined identifiers are:
2617 @item @code{StaffContext}@indexcode{StaffContext}
2618 Default Staff context.
2620 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2621 Default RhythmicStaff context.
2623 @item @code{VoiceContext}@indexcode{VoiceContext}
2624 Default Voice context.
2626 @item @code{ScoreContext}@indexcode{ScoreContext}
2627 Default Score context.
2629 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2630 Score context with numbering at the Score level.
2632 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2633 Staff context with numbering at the Staff level.
2635 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2636 Staff context that does not print if it only contains rests.
2637 Useful for orchestral scores.@footnote{Harakiri, also called
2638 Seppuku, is the ritual suicide of the Samourai.}
2640 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2642 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2645 Using these pre-defined values, you can remove or add items to the
2654 \remove Some_engraver;
2655 \consists Different_engraver;
2663 @node Sound output, , , Reference Manual
2664 @section Sound output
2666 The MIDI block is analogous to the paper block, but it is somewhat
2667 simpler. The @code{\midi} block can contain:
2671 @item a @code{\tempo} definition
2672 @item context definitions
2675 Assignments in the @code{\midi} block are not allowed.
2679 @cindex context definition
2681 Context definitions follow precisely the same syntax as within the
2682 \paper block. Translation modules for sound are called performers.
2683 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2687 @cindex MIDI instrument names
2689 @node midilist, , , Reference Manual
2691 The MIDI instrument name is set by the
2692 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2693 if that property is not set, the
2694 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2695 instrument name should be chosen from the following list. If the
2696 selected string does not exactly match, then LilyPond uses the default
2702 "acoustic grand" "contrabass" "lead 7 (fifths)"
2703 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2704 "electric grand" "pizzicato strings" "pad 1 (new age)"
2705 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2706 "electric piano 1" "timpani" "pad 3 (polysynth)"
2707 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2708 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2709 "clav" "synthstrings 1" "pad 6 (metallic)"
2710 "celesta" "synthstrings 2" "pad 7 (halo)"
2711 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2712 "music box" "voice oohs" "fx 1 (rain)"
2713 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2714 "marimba" "orchestra hit" "fx 3 (crystal)"
2715 "xylophone" "trumpet" "fx 4 (atmosphere)"
2716 "tubular bells" "trombone" "fx 5 (brightness)"
2717 "dulcimer" "tuba" "fx 6 (goblins)"
2718 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2719 "percussive organ" "french horn" "fx 8 (sci-fi)"
2720 "rock organ" "brass section" "sitar"
2721 "church organ" "synthbrass 1" "banjo"
2722 "reed organ" "synthbrass 2" "shamisen"
2723 "accordion" "soprano sax" "koto"
2724 "harmonica" "alto sax" "kalimba"
2725 "concertina" "tenor sax" "bagpipe"
2726 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2727 "acoustic guitar (steel)" "oboe" "shanai"
2728 "electric guitar (jazz)" "english horn" "tinkle bell"
2729 "electric guitar (clean)" "bassoon" "agogo"
2730 "electric guitar (muted)" "clarinet" "steel drums"
2731 "overdriven guitar" "piccolo" "woodblock"
2732 "distorted guitar" "flute" "taiko drum"
2733 "guitar harmonics" "recorder" "melodic tom"
2734 "acoustic bass" "pan flute" "synth drum"
2735 "electric bass (finger)" "blown bottle" "reverse cymbal"
2736 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2737 "fretless bass" "whistle" "breath noise"
2738 "slap bass 1" "ocarina" "seashore"
2739 "slap bass 2" "lead 1 (square)" "bird tweet"
2740 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2741 "synth bass 2" "lead 3 (calliope)" "helicopter"
2742 "violin" "lead 4 (chiff)" "applause"
2743 "viola" "lead 5 (charang)" "gunshot"
2744 "cello" "lead 6 (voice)"
2751 @node Pre-defined Identifiers, , , Reference Manual
2753 @section Pre-defined Identifiers
2755 @cindex pre-defined identifiers
2758 Various identifiers are defined in the initialization files to
2759 provide shorthands for some settings. Most of them are in
2760 @file{ly/declarations.ly} and @file{ly/property.ly}.
2763 @item @code{\break}@keyindex{break}
2764 Force a line break in music by using a large argument for the
2765 keyword @code{\penalty}.
2767 @item @code{\nobreak}@keyindex{nobreak}
2768 Prevent a line break in music by using a large negative argument
2769 for the keyword @code{\penalty}.
2771 @item @code{\shiftOff}@keyindex{shiftOff}
2772 Disable horizontal shifting of note heads that collide.
2774 @item @code{\shiftOn}@keyindex{shiftOn}
2775 Enable note heads that collide with other note heads to be
2776 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
2777 set different shift values.
2779 @item @code{\stemBoth}@keyindex{stemBoth}
2780 Allow stems, beams, and slurs to point either upwards or
2781 downwards, decided automatically by LilyPond.
2783 @item @code{\stemdown}@keyindex{stemdown}
2784 Force stems, beams, and slurs to point down.
2786 @item @code{\stemUp}@keyindex{stemUp}
2787 Force stems, beams and slurs to point up.