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
18 @c .{Reference Manual}
20 @node Reference Manual
21 @chapter Reference Manual
23 This document describes GNU LilyPond and its input format. The last
24 revision of this document was made for LilyPond 1.3.145.
47 * Skipping corrected music::
48 * Interpretation context::
58 The purpose of LilyPond is explained informally by the term `music
59 typesetter'. This is not a fully correct name: not only does the
60 program print musical symbols, it also makes aesthetic decisions.
61 Symbols and their placements are @emph{generated} from a high-level
62 musical description. In other words, LilyPond would be best described
63 by `music compiler' or `music to notation compiler'.
65 LilyPond is linked to GUILE, GNU's Scheme library for extension
66 programming. The Scheme library provides the glue that holds together
67 the low-level routines and separate modules which are written in C++.
69 When lilypond is run to typeset sheet music, the following happens:
71 @item GUILE Initialization: various scheme files are read
72 @item parsing: first standard @code{ly} initialization files are read, and
73 then the user @file{ly} file is read.
74 @item interpretation: the music in the file is processed ``in playing
75 order'', i.e. the order that you use to read sheet music, or the
76 order in which notes are played. The result of this step is a typesetting
80 The typesetting specification is solved: positions and formatting is
83 @item the visible results ("virtual ink") are written to the output file.
86 During these stages different types of data play the the main role:
87 during parsing, @strong{Music} objects are created. During the
88 interpretation, @strong{contexts} are constructed, and with these contexts
89 a network of @strong{graphical objects} (``grobs'') is created. These
90 grobs contain unknown variables, and the network forms a set of
91 equations. After solving the equations and filling in these variables,
92 the printed output (in the form of @strong{molecules}) is written to an
95 These threemanship of tasks (parsing, translating, typesetting) and
96 data-structures (music, context, graphical objects) permeates the entire
97 design of the program.
104 The most basic forms of music are notes. We discuss how you enter them
105 here. Notes on their own don't form valid input, but for the sake of
106 brevity we omit obligatory lint such as @code{\score} blocks and
107 @code{\paper} declarations.
112 * Defining pitch names::
115 * Easy Notation note heads ::
127 @cindex Note specification
129 @cindex entering notes
131 The verbose syntax for pitch specification is
133 @cindex @code{\pitch}
135 \pitch @var{scmpitch}
138 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
140 In Note and Chord mode, pitches may be designated by names. The default
141 names are the Dutch note names. The notes are specified by the letters
142 @code{a} through @code{g} (where the octave is formed by notes ranging
143 from @code{c} to @code{b}). The pitch @code{c} is an octave below
144 middle C and the letters span the octave above that C.
146 @cindex note names, Dutch
148 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
149 name. A flat is formed by adding @code{-es}. Double sharps and double
150 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
151 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
152 both forms are accepted.
154 LilyPond has predefined sets of note names for various other languages.
155 To use them, simply include the language specific init file. For
156 example: @code{\include "english.ly"}. The available language files and
157 the names they define are:
160 Note Names sharp flat
161 nederlands.ly c d e f g a bes b -is -es
162 english.ly c d e f g a bf b -s/-sharp -f/-flat
163 deutsch.ly c d e f g a b h -is -es
164 norsk.ly c d e f g a b h -iss/-is -ess/-es
165 svenska.ly c d e f g a b h -iss -ess
166 italiano.ly do re mi fa sol la sib si -d -b
167 catalan.ly do re mi fa sol la sib si -d/-s -b
175 The optional octave specification takes the form of a series of
176 single quote (`@code{'}') characters or a series of comma
177 (`@code{,}') characters. Each @code{'} raises the pitch by one
178 octave; each @code{,} lowers the pitch by an octave.
180 @lilypond[fragment,verbatim,center]
181 c' c'' es' g' as' gisis' ais'
184 @c . {Defining pitch names}
185 @node Defining pitch names
186 @subsection Defining pitch names
188 @cindex defining pitch names
189 @cindex pitch names, defining
191 Note names and chord modifiers can be customized for nationalities. The
192 syntax is as follows.
194 @cindex @code{\pitchnames}
195 @cindex @code{\chordmodifiers}
197 \pitchnames @var{scheme-alist}
198 \chordmodifiers @var{scheme-alist}
201 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
202 specific examples how to do this.
208 @subsection Durations
212 @cindex @code{\duration}
214 The syntax for a verbose duration specification is
216 \duration @var{scmduration}
218 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
219 @ref{Duration} for more information.
222 In Note, Chord, and Lyrics mode, durations may be designated by numbers
223 and dots: durations are entered as their reciprocal values. For notes
224 longer than a whole you must use identifiers.
228 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
230 r1 r2 r4 r8 r16 r32 r64 r64
236 \notes \relative c'' {
238 a1 a2 a4 a8 a16 a32 a64 a64
240 r1 r2 r4 r8 r16 r32 r64 r64
245 \remove "Clef_engraver"
246 \remove "Staff_symbol_engraver"
247 \remove "Time_signature_engraver"
248 \consists "Pitch_squash_engraver"
254 To get a longa note head, you have to use mensural note heads. This
255 is accomplished by setting the @code{style} property of the
256 NoteHead grob to @code{mensural}.
258 @lilypond[fragment,singleline,verbatim]
259 \property Voice.NoteHead \set #'style = #'mensural
263 If the duration is omitted then it is set to the previous duration
264 entered. At the start of parsing a quarter note is assumed. The
265 duration can be followed by dots (`@code{.}') to obtain dotted note
269 @lilypond[fragment,verbatim,center]
275 You can alter the length of duration by a fraction @var{N/M} by
276 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
277 will not affect the appearance of the notes or rests produced.
283 A note specification has the form
286 @var{pitch}[!][?][@var{duration}]
289 The alteration refers to what note is heard, not to whether an
290 accidental is printed. This is done depending on the key and context.
291 A reminder accidental
292 @cindex reminder accidental
294 can be forced by adding an exclamation mark @code{!} after the pitch. A
295 cautionary accidental,
296 @cindex cautionary accidental
297 i.e., an accidental within parentheses can be obtained by adding the
298 question mark `@code{?}' after the pitch.
300 @lilypond[fragment,verbatim,center]
301 cis' d' e' cis' c'? d' e' c'!
305 @node Easy Notation note heads
306 @subsection Easy Notation note heads
308 @cindex easy notation
311 A entirely different type of note head is the "easyplay" note head: a
312 note head that includes a note name. It is used in some publications by
313 Hal-Leonard Inc. music publishers.
315 @lilypond[singleline,verbatim]
316 \include "paper23.ly"
318 \notes { c'2 e'4 f' | g'1 }
319 \paper { \translator { \EasyNotation } }
323 Note that @code{EasyNotation} overrides a @code{Score} context. You
324 probably will want to print it with magnification to make it better
325 readable, see @ref{Output scaling}.
331 If you view the result with Xdvi, then staff lines will show through the
332 letters. Printing the postscript file obtained either by using dvips or
333 the @code{-f ps} option of lilypond produces the correct result.
343 A tie connects two adjacent note heads of the same pitch. When used
344 with chords, it connects all the note heads whose pitches match.
345 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
346 together chords which have no common pitches then no ties will be
349 @lilypond[fragment,verbatim,center]
350 e' ~ e' <c' e' g'> ~ <c' e' g'>
353 If you dislike the amount of ties created for a chord, you set
354 @code{Voice.sparseTies} to true, resulting in a smaller number of
356 @lilypond[fragment,verbatim,center]
357 \property Voice.sparseTies = ##t
358 <c' e' g'> ~ <c' e' g'>
361 In its meaning a tie is just a way of extending a note duration, similar
362 to the augmentation dot: the following example are two ways of notating
363 exactly the same concept.
365 @lilypond[fragment, singleline]
369 The name of the tie grob is @code{Voice.Tie}.
373 At present, the tie is implemented as a separate thing, temporally
374 located in between the notes. There is also no way to convert
375 between tied notes, dotted notes and plain notes.
377 Tieing only a subset of the note heads of a chord is not supported in a
378 simple way. It can be achieved by moving the tie-engraver into the Thread
379 context and turning on and off ties per Thread.
387 @cindex @code{\times}
389 Tuplets are made out of a music expression by multiplying their duration
392 @cindex @code{\times}
394 \times @var{fraction} @var{musicexpr}
397 The duration of @var{musicexpr} will be multiplied by the fraction.
398 In print, the fraction's denominator will be printed over the notes,
399 optionally with a bracket. The most common tuplet is the triplet in
400 which 3 notes have the length of 2, so the notes are 2/3 of
401 their written length:
403 @lilypond[fragment,verbatim,center]
404 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
407 The property @code{tupletSpannerDuration} specifies how long each bracket
408 should last. With this, you can make lots of tuplets while typing
409 @code{\times} only once, thus saving typing work.
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 }
416 The format of the number is determined by the property
417 @code{tupletNumberFormatFunction}. The default prints only the
418 denominator, but if you set it to the Scheme function
419 @code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
421 @cindex @code{tupletNumberFormatFunction}
422 @cindex tuplet formatting
424 Tuplet brackets are printed as @code{TupletBracket} grobs
432 Rests are entered like notes, with note name `@code{r}'. The grob is
433 @code{Rest}. Whole bar rests centered in the bar are specified using
434 @code{R}, see @ref{Multi measure rests}.
449 Skips the amount of time specified by @var{duration}. If no other music
450 is played, a gap will be left for the skipped time without any notes
451 printed. The shorthand is only available in Note and Chord mode.
456 @section Staff notation
458 @cindex Staff notation
470 @subsection Key signature
475 Changing the key signature is done with the @code{\key} command.
477 @code{\key} @var{pitch} @var{type}
480 @cindex @code{\minor}
481 @cindex @code{\major}
482 @cindex @code{\minor}
483 @cindex @code{\ionian}
484 @cindex @code{\locrian}
485 @cindex @code{\aeolian}
486 @cindex @code{\mixolydian}
487 @cindex @code{\lydian}
488 @cindex @code{\phrygian}
489 @cindex @code{\dorian}
491 Here, @var{type} should be @code{\major} or @code{\minor} to get
492 @var{pitch}-major or @var{pitch}-minor, respectively.
493 The standard mode names @code{\ionian},
494 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
495 @code{\phrygian}, and @code{\dorian} are also defined.
497 This command sets the context property @code{Staff.keySignature}.
498 Non-standard key signatures can be specified by setting this property
499 directly, see the generated documentation.
501 The printed signature is a @code{KeySignature} grob.
503 @cindex @code{keySignature}
510 \clef @var{clefname} @code{;}
516 \property Staff.clefGlyph = @var{glyph associated with clefname}
517 \property Staff.clefPosition = @var{clef Y-position for clefname}
518 \property Staff.clefOctavation = @var{extra transposition of clefname}
521 Any change in these properties creates a clef (a @code{Clef} grob).
523 Supported clef-names include
526 @item treble, violin, G, G2
550 By adding @code{_8} or @code{^8} to the clef name, the clef is
551 transposed one octave down or up, respectively.
553 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
562 @item clefs-vaticana_do
563 Editio Vaticana style do clef
564 @item clefs-vaticana_fa
565 Editio Vaticana style fa clef
566 @item clefs-medicaea_do
567 Editio Medicaea style do clef
568 @item clefs-medicaea_fa
569 Editio Medicaea style fa clef
570 @item clefs-mensural1_c
571 modern style mensural C clef
572 @item clefs-mensural2_c
573 historic style small mensural C clef
574 @item clefs-mensural3_c
575 historic style big mensural C clef
576 @item clefs-mensural1_f
577 historic style traditional mensural F clef
578 @item clefs-mensural2_f
579 historic style new mensural F clef
580 @item clefs-mensural_g
581 historic style mensural G clef
582 @item clefs-hufnagel_do
583 historic style hufnagel do clef
584 @item clefs-hufnagel_fa
585 historic style hufnagel fa clef
586 @item clefs-hufnagel_do_fa
587 historic style hufnagel combined do/fa clef
588 @item clefs-percussion
589 modern style percussion clef
592 @emph{Modern style} means ``as is typeset in current editions.''
593 @emph{Historic style} means ``as was typeset or written in contemporary
594 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
597 @cindex Vaticana, Editio
598 @cindex Medicaea, Editio
599 @cindex hufnagel clefs
602 @c . {Time signature}
604 @subsection Time signature
605 @cindex Time signature
609 The time signature is changed by the @code{\time} command. Syntax:
611 \time @var{numerator}@code{/}@var{denominator}
613 Internally, this is a shortcut for doing
615 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
618 The property @code{timeSignatureFraction} is used to determine where bar
619 lines should be inserted, and how automatic beams should be generated.
621 The grob is @code{TimeSignature}. There are many options for the layout
622 of this grob. They are selected through the @code{style} grob
623 property. See @file{input/test/time.ly} for examples.
630 @cindex partial measure
631 @cindex measure, partial
632 @cindex shorten measures
633 @cindex @code{\partial}
635 Partial measures, for example in upbeats, are entered using the
636 @code{\partial} command:
638 \partial @var{duration}
641 Internally, this is a shortcut for
644 \property Score.measurePosition = -@var{length of duration}
648 The property @code{measurePosition} contains a rational number
649 indicating how much of the measure has passed at this point.
652 @node Unmetered music
653 @subsection Unmetered music
655 Bar lines and bar numbers are calculated automatically. For unmetered
656 music (e.g. cadenzas), this is not desirable. The property
657 @code{Score.timing} can be used to switch off this automatic timing
659 @lilypond[fragment,relative,singleline,verbatim]
661 \property Score.timing = ##f
663 \property Score.timing = ##t
667 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
668 achieve the same effect.
674 @subsection Bar lines
678 @cindex measure lines
685 This is a shortcut for doing
687 \property Score.whichBar = @var{bartype}
690 You are encouraged to use @code{\repeat} for repetitions. See
694 @cindex Bar_line_engraver
696 @cindex repeatCommands
697 @cindex defaultBarType
699 Whenever @code{whichBar} is set to a string, a bar line of that type is
700 created. @code{whichBar} is usually set automatically: at the start of
701 a measure it is set to @code{defaultBarType}. The contents of
702 @code{repeatCommands} is used to override default measure bars.
704 @code{whichBar} can also be set directly, using @code{\property} or
705 @code{\bar }. These settings take precedence over the automatic
706 @code{whichBar} settings.
708 @code{Bar_engraver} creates @code{BarLine} grobs.
715 Polyphonic parts, i.e. parts with more than one voice on a staff can be
716 typeset with LilyPond. To use this, instantiate a separate Voice
717 context for each part, and assign a stem direction to each part.
718 @lilypond[fragment,verbatim]
720 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
721 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
724 When there are more than two voices on a staff, you must also indicate
725 which voice should moved horizontally in case of a collision. This can
726 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
727 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
728 in @code{NoteColumn}).
730 @lilypond[fragment, verbatim]
731 \context Staff \notes\relative c''<
738 \context Voice=three {
739 \shiftOnn \stemUp ais
741 \context Voice=four {
742 \shiftOnnn \stemUp fis
747 The most convenient way is to use the identifiers @code{\voiceOne}
748 through @code{\voiceFour}, which also set slur and tie directions in the
751 @lilypond[singleline, verbatim]
753 \context Staff < \context Voice = VA { \voiceOne cis2 b }
754 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
755 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
758 Normally, note heads with a different number of dots are not merged, but
759 if you set the grob property @code{merge-differently-dotted}, they are:
761 @lilypond[verbatim,fragment,singleline]
763 \context Voice = VA { \voiceOne
765 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
768 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
772 LilyPond also vertically shifts rests that are opposite of a stem.
774 @lilypond[singleline,verbatim]
776 \context Voice { \stemUp c''4 }
777 \context Voice =VB { r4 }
781 Note head collisions (horizontal shifting of note heads) are handled by
782 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
785 @cindex @code{NoteCollision}
786 @cindex @code{RestCollision}
791 Resolving collisions is a very intricate subject, and LilyPond only
792 handles a few situations. When it can not cope, you are advised to use
793 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
794 the Rest grob to override typesetting decisions.
799 Beams are used to group short notes into chunks that are aligned with
800 the metrum. LilyPond guesses where beams should be inserted. If you're
801 not satisfied with the automatic beaming, you can specify which patterns
802 to beam automatically. In specific cases, you can also enter the beams
806 @c . {Automatic beams}
807 @subsection Automatic beams
809 @cindex @code{Voice.autoBeamSettings}
810 @cindex @code{(end * * * *)}
811 @cindex @code{(begin * * * *)}
814 In normal time signatures, automatic beams can start on any note but can
815 only end in a few positions within the measure: beams can end on a beat,
816 or at durations specified by the properties in
817 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
818 are defined in @file{scm/auto-beam.scm}.
820 The value of @code{autoBeamSettings} is changed using
821 @code{\override} and unset using @code{\revert}:
823 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
824 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
826 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
827 whether the rule applies to begin or end-points. The quantity
828 @var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
829 be entered to designate all time signatures), @var{P}/@var{Q} refers to
830 the length of the beamed notes (and `@code{* *}' designates notes of any
833 For example, if you want automatic beams to end on every quarter note,
834 you can use the following:
836 \property Voice.autoBeamSettings \override
837 #'(end * * * *) = #(make-moment 1 4)
839 Since the duration of a quarter note is 1/4 of a whole note, it is
840 entered as @code{(make-moment 1 4)}.
842 The same syntax can be used to specify beam starting points. In this
843 example, automatic beams can only end on a dotted quarter note.
845 \property Voice.autoBeamSettings \override
846 #'(end * * * *) = #(make-moment 3 8)
848 In 4/4 time signature, this means that automatic beams could end only on
849 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
850 3/8 has passed within the measure).
852 You can also restrict rules to specific time signatures. A rule that
853 should only be applied in @var{N}/@var{M} time signature is formed by
854 replacing the first asterisks by @var{N} and @var{M}. For example, a
855 rule for 6/8 time exclusively looks like
857 \property Voice.autoBeamSettings \override
858 #'(begin 6 8 * *) = ...
861 If you want a rule to apply to certain types of beams, you can use the
862 second pair of asterisks. Beams are classified according to the shortest
863 note they contain. For a beam ending rule that only applies to beams
864 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
868 @c Automatic beams can not be put on the last note in a score.
870 If a score ends while an automatic beam has not been ended and is still
871 accepting notes, this last beam will not be typeset at all.
873 @cindex automatic beam generation
875 @cindex @code{Voice.noAutoBeaming}
877 Automatic beaming is on by default, but can be switched off by setting
878 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
879 a melody that goes with lyrics.
883 It is not possible to specify beaming parameters for beams with mixed
884 durations, that differ from the beaming parameters of all separate
885 durations, i.e., you'll have to specify manual beams to get:
886 @lilypond[fragment,singleline,relative]
887 \property Voice.autoBeamSettings
888 \override #'(end * * * *) = #(make-moment 3 8)
889 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
892 It is not possible to specify beaming parameters that act differently in
893 different parts of a measure. This means that it is not possible to use
894 automatic beaming in irregular meters such as @code{5/8}.
897 @cindex Automatic beams
898 @subsection Manual beams
899 @cindex beams, manual
903 In some cases it may be necessary to override LilyPond's automatic
904 beaming algorithm. For example, the auto beamer will not beam over
905 rests or bar lines, If you want that, specify the begin and end point
906 manually using a @code{[} before the first beamed note and a @code{]}
909 @lilypond[fragment,relative,verbatim]
911 r4 [r8 g'' a r8] r8 [g | a] r8
914 Whenever an manual beam is busy, the automatic beamer will not produce
917 @cindex @code{stemLeftBeamCount}
919 Normally, beaming patterns within a beam are determined automatically.
920 When this mechanism fouls up, the properties
921 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
922 be used to control the beam subdivision on a stem. If you set either
923 property, it's value will be used only once, and then it is erased.
925 @lilypond[fragment,relative,verbatim]
928 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
931 @cindex @code{stemRightBeamCount}
933 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
934 beams) can be tweaked through grob-properties @code{height} and
935 @code{staff-position}. These specify vertical location and vertical
936 span. Both are measured in half staff-spaces, @code{staff-position=0}
937 corresponds to the middle staff line.
940 Set @code{height} to zero, to get horizontal beams:
942 @lilypond[fragment,relative,verbatim]
943 \property Voice.Beam \set #'direction = #1
944 \property Voice.Beam \set #'height = #0
948 Here's how you'd specify a weird looking beam that instead of being
949 horizontal, falls two staff spaces:
951 @lilypond[fragment,relative,verbatim]
952 \property Voice.Beam \set #'staff-position = #4
953 \property Voice.Beam \set #'height = #-4
956 @cindex @code{default-neutral-direction}
958 @node Expressive marks
959 @section Expressive marks
974 A slur indicates that notes are to be played bound or @emph{legato}.
975 They are entered using parentheses:
977 @lilypond[fragment,verbatim,center]
978 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
982 Slurs avoid crossing stems, and are generally attached to note heads.
983 However, in some situations with beams, slurs may be attached to stem
984 ends. If you want to override this layout you can do this through the
985 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
986 pair of symbols, specifying the attachment type of the left and right end points.
988 @lilypond[fragment,relative,verbatim]
989 \property Voice.Slur \set #'direction = #1
990 \property Voice.Stem \set #'length = #5.5
992 \property Voice.Slur \set #'attachment = #'(stem . stem)
996 If a slur would strike through a stem or beam, the slur will be moved
997 away upward or downward. If this happens, attaching the slur to the
998 stems might look better:
1000 @lilypond[fragment,relative,verbatim]
1001 \property Voice.Stem \set #'direction = #1
1002 \property Voice.Slur \set #'direction = #1
1004 \property Voice.Slur \set #'attachment = #'(stem . stem)
1009 Similarly, the curvature of a slur is adjusted to stay clear of note
1010 heads and stems. When that would increase the curvature too much, the
1011 slur is reverted to its default shape. The threshold for this decision
1012 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1013 related to the enclosed area between the slur and the notes. Usually,
1014 the default setting works well, but in some cases you may prefer a
1015 curved slur when LilyPond decides for a vertically moved one. You can
1016 indicate this preference by increasing the @code{beautiful} value:
1018 @lilypond[verbatim,singleline,relative]
1019 \property Voice.Beam \override #'direction = #-1
1020 \property Voice.Slur \override #'direction = #1
1021 c'16( a' f' a a f a, )c,
1022 c( a' f' a a f d, )c
1023 \property Voice.Slur \override #'beautiful = #5.0
1024 c( a' f' a a f d, )c
1029 @code{beautiful} is an arbitrary parameter in the slur formatter.
1030 Useful values can only be determined by trial and error.
1032 @cindex Adjusting slurs
1035 @subsection Phrasing slur
1037 @cindex phrasing slur
1038 @cindex phrasing mark
1040 A phrasing slur (or phrasing mark) connects chords and is used to
1041 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1044 @lilypond[fragment,verbatim,center,relative]
1045 \time 6/4 c''\((d)e f(e)\)d
1048 Typographically, the phrasing slur behaves almost exactly like a normal
1049 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1052 @subsection Breath marks
1054 Breath marks are entered using @code{\breathe}. The result is a
1055 @code{Voice.BreathingSign} grob.
1057 @lilypond[fragment,relative]
1066 Currently, only tick marks are supported, not comma style breath marks.
1073 @cindex beats per minute
1074 @cindex metronome marking
1076 Metronome settings can be entered as follows:
1078 @cindex @code{\tempo}
1080 \tempo @var{duration} = @var{perminute}
1083 For example, @code{\tempo 4 = 76;} requests output with 76 quarter notes
1088 The tempo setting is not printed, but is only used in the MIDI
1089 output. You can trick lily into producing a metronome mark,
1090 though. Details are in @ref{Text markup}.
1095 @subsection Text spanner
1096 @cindex Text spanner
1098 Some textual indications, e.g. rallentando, accelerando, often extend
1099 over many measures. This is indicated by following the text with a
1100 dotted line. You can create such texts using text spanners. The syntax
1103 \spanrequest \start "text"
1104 \spanrequest \stop "text"
1106 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1107 string to be printed, as well as the style is set through grob
1110 An application---or rather, a hack---is to fake octavation indications.
1111 @lilypond[fragment,relative,verbatim]
1112 \relative c' { a''' b c a
1113 \property Voice.TextSpanner \set #'type = #'dotted-line
1114 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1115 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1116 \property Staff.centralCPosition = #-13
1117 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1135 @subsection Articulation
1136 @cindex Articulation
1138 @cindex articulations
1142 A variety of symbols can appear above and below notes to indicate
1143 different characteristics of the performance. These symbols can be
1144 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1145 are defined in @file{script.ly}. Symbols can be forced to appear above
1146 or below the note by writing `@var{note}@code{^\}@var{name}' and
1147 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1148 symbols on notes, with the name of the corresponding symbol appearing
1154 \property Score.LyricSyllable \override #'font-family =#'typewriter
1155 \property Score.LyricSyllable \override #'font-shape = #'upright
1156 \context Staff \notes {
1157 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1158 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1159 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1160 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1161 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1162 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1163 c''-\thumb c''-\segno c''-\coda
1165 \context Lyrics \lyrics {
1166 accent__ marcato__ staccatissimo__ fermata
1167 stopped__ staccato__ tenuto__ upbow
1168 downbow__ lheel__ rheel__ ltoe
1169 rtoe__ turn__ open__ flageolet
1170 reverseturn__ trill__ prall__ mordent
1171 prallprall__ prallmordent__ uprall__ downprall
1172 thumb__ segno__ coda
1176 linewidth = 5.875\in
1182 To save typing work, some shorthands are available:
1183 @lilypond[singleline]
1185 \notes \context Voice {
1186 \property Voice.TextScript \set #'font-family = #'typewriter
1187 \property Voice.TextScript \set #'font-shape = #'upright
1193 c''4-^_"c-\\^{ }" s4
1200 Fingering instructions can also be entered in this shorthand.
1201 @lilypond[verbatim, singleline, fragment]
1202 c'4-1 c'4-2 c'4-3 c'4-4
1206 @cindex @code{\script}
1211 You can add scripts by editing @file{scm/script.scm}. This file contains
1212 a table, listing script definitions and aliases. The following syntax
1213 accesses a script definition from the table:
1219 Usually the @code{\script} keyword is not used directly. Various
1220 helpful identifier definitions appear in @file{script.ly}.
1222 Grobs for these objects are @code{Script} and @code{Fingering}.
1226 All of these note ornaments appear in the printed output but have no
1227 effect on the MIDI rendering of the music.
1229 Unfortunately, there is no support for adding fingering instructions or
1230 ornaments to individual note heads. Some hacks exist, though. See
1231 @file{input/test/script-horizontal.ly}.
1236 @subsection Text scripts
1237 @cindex Text scripts
1239 In addition, it is possible to place arbitrary strings of text or markup
1240 text (see @ref{Text markup}) above or below notes by using a string:
1243 By default, these indications do not influence the note spacing, but
1244 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1245 into account. The identifier @code{\fatText} is defined in the standard
1247 @lilypond[fragment,singleline,verbatim]
1248 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1251 Text scripts are created in form of @code{Voice.TextScript} grobs.
1253 @ref{Text markup} describes how to change the font or access
1254 special symbols in text scripts.
1258 @subsection Grace notes
1267 @cindex @code{\grace}
1270 @cindex @code{graceAlignPosition}
1272 Grace notes are ornaments that are written out, but do not take up any
1273 logical time in a measure. LilyPond has limited support for grace notes.
1274 The syntax is as follows.
1276 \grace @var{musicexpr}
1279 When grace music is interpreted, a score-within-a-score is set up:
1280 @var{musicexpr} has its own time bookkeeping, and you could (for
1281 example) have a separate time signature within the grace notes. While in
1282 this score-within-a-score, you can create notes, beams, slurs, etc.
1283 Unbeamed eighth notes and shorter by default have a slash through the
1286 @lilypond[fragment,verbatim]
1288 \grace c8 c4 \grace { [c16 c16] } c4
1289 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1294 A grace note expression has duration 0; the next real note is assumed to
1295 be the main note. If you want the note to appear after the main note,
1296 set @code{Voice.graceAlignPosition} to @code{1}.
1300 At present, slurs or ties from the grace notes to the following notes
1301 are not supported. Also, nesting @code{\grace} notes is not
1302 supported. The following may cause run-time errors:
1304 @code{\grace @{ \grace c32 c16 @} c4}
1306 Since the meaning of such a construct is unclear, we don't consider this
1307 a loss. Similarly, juxtaposing two @code{\grace} sections is
1308 syntactically valid, but makes no sense and may cause runtime errors.
1309 Ending a staff or score with grace notes may also generate a run-time
1310 error, since there will be no main note to attach the grace notes to.
1313 The present implementation of grace notes is not robust and generally
1314 kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
1315 also be implemented.
1328 @subsection Glissando
1331 @cindex @code{\glissando}
1333 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1334 @code{\glissando} to a note:
1336 @lilypond[fragment,relative,verbatim]
1342 Printing of an additional text (such as @emph{gliss.}) must be done
1349 @subsection Dynamics
1362 @cindex @code{\ffff}
1372 Absolute dynamic marks are specified using an identifier after a
1373 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1374 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1375 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1376 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1378 @lilypond[verbatim,singleline,fragment,relative]
1379 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1385 @cindex @code{\decr}
1386 @cindex @code{\rced}
1392 A crescendo mark is started with @code{\cr} and terminated with
1393 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1394 started with @code{\decr} and terminated with @code{\rced}. There are
1395 also shorthands for these marks. A crescendo can be started with
1396 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1397 can be terminated with @code{\!}. Note that @code{\!} must go before
1398 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1399 after the last note. Because these marks are bound to notes, if you
1400 want several marks during one note, you have to use spacer notes.
1402 @lilypond[fragment,verbatim,center]
1403 c'' \< \! c'' d'' \decr e'' \rced
1404 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1407 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1408 is an example how to do it:
1413 @lilypond[fragment,relative,verbatim]
1415 \property Voice.crescendoText = "cresc."
1416 \property Voice.crescendoSpanner = #'dashed-line
1421 For everyday use, we recommend the identifiers @code{\cresc},
1422 @code{endcresc}, @code{\dim} and @code{\enddim}.
1426 Dynamics are grobs of @code{Voice.DynamicText} and
1427 @code{Voice.Hairpin}. They are put together on
1428 @code{Voice.DynamicLineSpanner} to align them vertically.
1437 @cindex @code{\repeat}
1439 To specify repeats, use the @code{\repeat} keyword. Since repeats
1440 should work differently when played or printed, there are a few
1441 different variants of repeats.
1445 Repeated music is fully written (played) out. Useful for MIDI
1446 output, and entering repetitive music.
1449 This is the normal notation: Repeats are not written out, but
1450 alternative endings (voltas) are printed, left to right.
1453 Alternative endings are written stacked. This has limited use but may be
1454 used to typeset two lines of lyrics in songs with repeats, see
1455 @file{input/star-spangled-banner.ly}.
1461 Make measure repeats. These look like percent signs.
1467 * Manual repeat commands::
1469 * Tremolo subdivision::
1474 @subsection Repeat syntax
1476 The syntax for repeats is
1479 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1482 If you have alternative endings, you may add
1483 @cindex @code{\alternative}
1485 \alternative @code{@{} @var{alternative1}
1487 @var{alternative3} @dots{} @code{@}}
1489 where each @var{alternative} is a music expression.
1491 Normal notation repeats are used like this:
1492 @lilypond[fragment,verbatim]
1494 \repeat volta 2 { c'4 d' e' f' }
1495 \repeat volta 2 { f' e' d' c' }
1498 With alternative endings:
1499 @lilypond[fragment,verbatim]
1501 \repeat volta 2 {c'4 d' e' f'}
1502 \alternative { {d'2 d'} {f' f} }
1505 Folded repeats look like this:
1508 @lilypond[fragment,verbatim]
1510 \repeat fold 2 {c'4 d' e' f'}
1511 \alternative { {d'2 d'} {f' f} }
1515 If you don't give enough alternatives for all of the repeats, then
1516 the first alternative is assumed to be repeated often enough to equal
1517 the specified number of repeats.
1519 @lilypond[fragment,verbatim]
1523 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1524 \alternative { { g4 g g } { a | a a a a | b2. } }
1531 Notice that timing information is not remembered at the start of an
1532 alternative, so you have to reset timing information after a repeat,
1533 e.g. using a bar-check (See @ref{Bar check}), setting
1534 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1535 are also not repeated.
1537 It is possible to nest @code{\repeat}s, although this probably is only
1538 meaningful for unfolded repeats.
1540 Folded repeats offer little more over simultaneous music. However, it
1541 is to be expected that more functionality -- especially for the MIDI
1542 backend -- will be implemented at some point in the future.
1544 @node Manual repeat commands
1545 @subsection Manual repeat commands
1547 @cindex @code{repeatCommands}
1549 The property @code{repeatCommands} can be used to control the layout of
1550 repeats. Its value is a Scheme list of repeat commands, where each repeat
1558 @item (volta . @var{text})
1559 Print a volta bracket saying @var{text}.
1561 Stop a running volta bracket
1564 @lilypond[verbatim, fragment]
1566 \property Score.repeatCommands = #'((volta "93") end-repeat)
1568 \property Score.repeatCommands = #'((volta #f))
1573 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1575 @node Tremolo repeats
1576 @subsection Tremolo repeats
1577 @cindex tremolo beams
1579 To place tremolo marks between notes, use @code{\repeat} with tremolo
1581 @lilypond[verbatim,center,singleline]
1583 \context Voice \notes\relative c' {
1584 \repeat "tremolo" 8 { c16 d16 }
1585 \repeat "tremolo" 4 { c16 d16 }
1586 \repeat "tremolo" 2 { c16 d16 }
1587 \repeat "tremolo" 4 c16
1592 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1593 @code{Voice.StemTremolo}.
1598 At present, the spacing between tremolo beams is not regular, since the
1599 spacing engine does not notice that not all notes are printed.
1601 @node Tremolo subdivision
1602 @subsection Tremolo subdivision
1603 @cindex tremolo marks
1604 @cindex @code{tremoloFlags}
1606 Tremolo marks can be printed on a single note by adding
1607 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1608 A @var{length} value of 8 gives one line across the note stem. If the
1609 length is omitted, then then the last value (stored in
1610 @code{Voice.tremoloFlags}) is used.
1612 @lilypond[verbatim,fragment,center]
1613 c'2:8 c':32 | c': c': |
1615 Using this mechanism pays off when you enter many tremolos, since the
1616 default argument saves typing.
1621 Tremolos in this style do not carry over into the MIDI output.
1624 @node Measure repeats
1625 @subsection Measure repeats
1627 @cindex percent repeats
1628 @cindex measure repeats
1630 In the @code{percent} style, a note pattern can be repeated. It is
1631 printed once, and then the pattern is replaced with a special sign.
1632 Patterns of a one and two measures are replaced by percent signs,
1633 patterns that divide the measure length are replaced by slashes.
1635 @lilypond[verbatim,singleline]
1636 \context Voice { \repeat "percent" 4 { c'4 }
1637 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1641 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1642 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1646 You can not nest percent repeats, e.g. by filling in the first measure
1647 with slashes, and repeating that measure with percents.
1649 @node Rhythmic music
1650 @section Rhythmic music
1657 @node Rhythmic staffs
1658 @subsection Rhythmic staffs
1660 Sometimes you might want to show only the rhythm of a melody. This can
1661 be done with the rhythmic staff. All pitches of notes on such a staff
1662 are squashed, and the staff itself looks has a single staff line:
1664 @lilypond[fragment,relative,verbatim]
1665 \context RhythmicStaff {
1667 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1674 @section Piano music
1676 Piano music is an odd type of notation. Piano staffs are two normal
1677 staffs coupled with a brace. The staffs are largely independent, but
1678 sometimes voices can cross between the two staffs. The
1679 @code{PianoStaff} is especially built to handle this cross-staffing
1680 behavior. In this section we discuss the @code{PianoStaff} and some
1681 other pianistic peculiarities.
1684 * Automatic staff changes::
1685 * Manual staff switches::
1688 * Voice follower line::
1692 @c . {Automatic staff changes}
1693 @node Automatic staff changes
1694 @subsection Automatic staff changes
1695 @cindex Automatic staff changes
1697 Voices can switch automatically between the top and the bottom
1698 staff. The syntax for this is
1700 \autochange @var{contexttype} @var{musicexp}
1702 This will switch the interpretation context of @var{musicexp} between a
1703 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1704 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1705 of pitch (central C is the turning point), and it looks ahead skipping
1706 over rests to switch rests in advance.
1708 @lilypond[verbatim,singleline]
1709 \score { \notes \context PianoStaff <
1710 \context Staff = "up" {
1711 \autochange Staff \context Voice = VA < \relative c' {
1712 g4 a b c d r4 a g } > }
1713 \context Staff = "down" {
1719 Note how spacer rests are used to prevent the bottom staff from
1720 terminating too soon.
1723 @node Manual staff switches
1724 @subsection Manual staff switches
1726 @cindex manual staff switches
1727 @cindex staff switch, manual
1729 Voices can be switched between staffs manually, using the following command:
1731 \translator Staff = @var{staffname} @var{music}
1733 The string @var{staffname} is the name of the staff. Typically it is
1734 @code{"up"} or @code{"down"}.
1736 Formally, this construct is a music expression indicating that the
1737 context which is a direct child of the context of type
1738 @var{contexttype} should be shifted to a context of type
1739 @var{contexttype} and the specified name.
1741 @cindex @code{\translator}
1743 \translator @var{contexttype} = @var{name}
1752 Piano pedal instruction can be expressed using
1753 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1754 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1756 These identifiers are shorthands for spanner commands of the types
1757 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1759 @lilypond[fragment,verbatim]
1760 c''4 \spanrequest \start "Sustain" c''4
1761 c''4 \spanrequest \stop "Sustain"
1764 The symbols that are printed can be modified by setting
1765 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1766 types. Refer to the generated documentation for more information.
1771 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1777 @subsection Arpeggio
1780 @cindex broken arpeggio
1781 @cindex @code{\arpeggio}
1783 You can specify an arpeggio sign on a chord by attaching an
1784 @code{\arpeggio} to a note of the chord.
1787 @lilypond[fragment,relative,verbatim]
1788 \context Voice <c'\arpeggio e g c>
1791 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1792 to the chords in both staffs, and set
1793 @code{PianoStaff.connectArpeggios}.
1795 @lilypond[fragment,relative,verbatim]
1796 \context PianoStaff <
1797 \property PianoStaff.connectArpeggios = ##t
1798 \context Voice = one { <c''\arpeggio e g c> }
1799 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1803 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1804 are @code{PianoStaff.Arpeggio}.
1808 It is not possible to mix connected arpeggios and unconnected arpeggios
1813 @node Voice follower line
1814 @subsection Voice follower line
1816 @cindex follow voice
1817 @cindex staff switching
1820 @cindex @code{followVoice}
1822 Whenever a voice switches to another staff a line connecting the notes
1823 can be printed automatically. This is enabled if the property
1824 @code{PianoStaff.followVoice} is set to true:
1826 @lilypond[fragment,relative,verbatim]
1827 \context PianoStaff <
1828 \property PianoStaff.followVoice = ##t
1829 \context Staff \context Voice {
1831 \translator Staff=two
1834 \context Staff=two {\clef bass \skip 1*2 }
1838 The associated grob is @code{Voice.VoiceFollower}.
1848 * Automatic syllable durations::
1854 @subsection Lyrics mode
1857 To print lyrics, you must first make a music expression from the lyric
1858 text. That music expression can be printed by selecting an appropriate
1862 @cindex @code{\lyrics}
1864 You can enter lyrics in a special input mode of LilyPond. This mode is
1865 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1866 The purpose of this mode is that you can enter lyrics as plain text,
1867 punctuation and accents without any hassle.
1869 Syllables are entered like notes, with pitches replaced by text. For
1870 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1871 the hyphen has no special meaning for lyrics, and does not introduce
1874 Spaces can be introduced into a lyric either by using quotes:
1875 @code{"He could"4 not4} or by using an underscore without quotes:
1876 @code{He_could4 not4}. All unquoted underscores are converted to
1879 The precise definition of this mode is in @ref{Lyrics mode
1882 @c . {Printing lyrics}
1883 @node Printing lyrics
1884 @subsection Printing lyrics
1887 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1889 @lilypond[verbatim,singleline]
1890 \addlyrics \notes \relative c' {
1892 \property Staff.automaticMelismata = ##t
1893 d'2 c4 b16 ( a g a b a b ) c a2
1894 b2 c4 b8 ( a16 g ) a4 g2 }
1895 \context Lyrics \lyrics {
1897 share the soft -- ware; }
1901 Notes and syllable durations are matched automatically. This is
1902 accomplished using @code{\addlyrics}, which is documented in
1903 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1904 the melody staff will cause slurs to be interpreted as melismata.
1906 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1909 @cindex lyric extender
1912 As you can see, extender lines are entered as @code{__}. This will
1913 create an extender, a line that extends over the entire duration of the
1914 lyric. This line will run all the way to the start of the next lyric,
1915 so you may want to shorten it by using a blank lyric (using @code{_}).
1916 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1921 If you want to have hyphens centered between syllables (rather than
1922 attached to the end of the first syllable) you can use the special
1923 `@code{-}@code{-}' lyric as a separate word between syllables. This
1924 will result in a hyphen whose length varies depending on the space
1925 between syllables. It will be centered between the syllables. The grob
1926 for this symbol is @code{LyricsVoice.LyricHyphen}.
1928 @cindex Lyric hyphen
1930 @node Automatic syllable durations
1931 @subsection Automatic syllable durations
1932 @cindex Automatic syllable durations
1934 @cindex automatic lyric durations
1935 @cindex @code{\addlyrics}
1937 If you have lyrics that are set to a melody, you can copy the rhythm
1938 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1941 \addlyrics @var{musicexpr1 musicexpr2}
1944 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
1945 music event (``every syllable'') in @var{musicexpr2} is interpreted only
1946 when there are events in @var{musicexpr1}.
1948 @cindex @code{automaticMelismata}
1950 If the property @code{automaticMelismata} is set in the
1951 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1954 @lilypond[verbatim,fragment]
1957 \property Voice.automaticMelismata = ##t
1958 c8 () cis d8. e16 f2
1960 \context Lyrics \lyrics {
1964 If you want the lyric lines to be above the melody staff, or in some
1965 other, more complex configuration, then build that configuration first
1966 using simultaneous music, and use @code{\addlyrics} after that.
1968 @lilypond[verbatim, singleline]
1970 \context Lyrics = LA { s1 }
1971 \context Staff = SA { s1 }
1973 \context Staff = SA \relative c' { c4 e g g }
1974 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1977 For @code{\addlyrics} you should use a single rhythm melody, and single
1978 rhythm lyrics (a constant duration is the obvious choice). If you do
1979 not, you can get undesired effects when using multiple stanzas:
1981 @lilypond[verbatim,fragment]
1984 c8 () cis d8. e16 f2
1986 \context Lyrics \lyrics
1991 It is valid (but probably not very useful) to use notes instead of
1992 lyrics for @var{musicexpr2}.
1995 @subsection More stanzas
1999 If you have multiple stanzas printed underneath each other, the vertical
2000 groups of syllables should be aligned around punctuation. LilyPond can
2001 do this if you tell it which lyric lines belong to which melody.
2003 To this end, give the Voice context an identity, and set the LyricsVoice
2004 to a name starting with that identity followed by a dash.
2005 In the following example, the Voice
2006 identity is @code{duet}, and the identities of the LyricsVoices are
2007 @code{duet-1} and @code{duet-2}.
2010 @lilypond[singleline,verbatim]
2013 \notes \relative c'' \context Voice = duet { \time 3/4
2015 \lyrics \context Lyrics <
2016 \context LyricsVoice = "duet-1" {
2017 \property LyricsVoice . stanza = "Bert"
2018 Hi, my name is bert. }
2019 \context LyricsVoice = "duet-2" {
2020 \property LyricsVoice . stanza = "Ernie"
2021 Ooooo, ch\'e -- ri, je t'aime. }
2026 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2027 first system) and @code{LyricsVoice.stz} for the following
2028 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2034 @cindex stanza numbering
2042 LilyPond has support for both entering and printing chords. Chords are
2043 characterized by a set of pitches. They are
2044 internally stored as simultaneous music expressions. This means you can
2045 enter chords by name and print them as note head, enter them as notes
2046 and print them as chord names, or (the most common case) enter them by
2047 name, and print them as name.
2050 @lilypond[verbatim,singleline]
2051 twoWays = \notes \transpose c'' {
2061 < \context ChordNames \twoWays
2062 \context Voice \twoWays > }
2065 Note that this example also shows that the chord printing routines do
2066 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2067 interpret this as an inversion.
2071 * Printing named chords::
2076 @subsection Chords mode
2079 Chord mode is a mode where you can input sets of pitches using common
2080 names. It is introduced by the keyword @code{\chords}. It is similar
2081 to note mode, but words are also looked up in a chord modifier table
2082 (containing @code{maj}, @code{dim}, etc).
2084 Dashes and carets are used to indicate chord additions and subtractions,
2085 so articulation scripts can not be entered in Chord mode.
2087 The syntax for named chords is as follows:
2089 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2092 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2093 the chord duration in the usual notation. There are two kinds of
2094 modifiers. One type is formed by @emph{chord additions}. Additions are
2095 obtained by listing intervals separated by dots. An interval is written
2096 by its number with an optional @code{+} or @code{-} to indicate raising
2097 or lowering by half a step. Chord additions have two effects: they adds
2098 the specified interval and all lower odd numbered intervals to the
2099 chord, and they may lower or raise the specified interval.
2101 Throughout these examples, chords have been shifted around the staff
2102 using @code{\transpose}.
2104 @lilypond[fragment,verbatim]
2108 c:9 c:9-.5+.7+ c:3-.5-
2118 The second type of modifier that may appear after the @code{:} is a
2119 named modifier. Named modifiers are listed in the file
2120 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2121 @code{min} which lower the 3rd half a step, `@code{aug}' which
2122 raises the 5th, `@code{dim}' which lowers the 5th,
2123 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2124 which replaces the 5th with a 4th.
2126 @lilypond[fragment,verbatim]
2129 c1:m c:min7 c:maj c:aug c:dim c:sus
2135 Chord subtractions are used to eliminate notes from a chord. The
2136 notes to be subtracted are listed after a @code{^} character,
2139 @lilypond[fragment,verbatim,center]
2148 Chord inversions can be specified by appending `@code{/}' and the name
2149 of a single note to a chord. In a chord inversion, the inverted note is
2150 transposed down until it is the lowest note in the chord. If the note
2151 is not in the chord, a warning will be printed.
2153 @lilypond[fragment,verbatim,center]
2163 Bass notes can be added by `@code{/+}' and
2164 the name of a single note to a chord. This has the effect of
2165 adding the specified note to the chord, lowered by an octave,
2166 so it becomes the lowest note in the chord.
2168 @lilypond[fragment,verbatim,center]
2179 Implementation details are quite gory. For example @code{c:4} not only
2180 adds a fourth, but also removes the third.
2183 @c . {Printing named chords}
2184 @node Printing named chords
2185 @subsection Printing named chords
2187 @cindex printing chord names
2190 @cindex @code{ChordNames}
2193 For displaying printed chord names, use the @code{ChordNames} context.
2194 The chords may be entered either using the notation described above, or
2195 directly using simultaneous music.
2197 @lilypond[verbatim,singleline]
2199 \chords {a1 b c} <d f g> <e g b>
2203 \context ChordNames \scheme
2204 \context Staff \transpose c'' \scheme
2209 You can make the chord changes stand out by setting
2210 @code{ChordNames.chordChanges} to true. This will only display chord
2211 names when there's a change in the chords scheme and at the start of the
2216 c1:m c:m \break c:m c:m d
2220 \context ChordNames {
2221 \property ChordNames.chordChanges = ##t
2223 \context Staff \transpose c'' \scheme
2227 LilyPond examines chords specified as lists of notes to determine a name
2228 to give the chord. LilyPond will not try to identify chord inversions or
2229 an added bass note, which may result in strange chord names when chords
2230 are entered as a list of pitches:
2232 @lilypond[verbatim,center,singleline]
2241 \context ChordNames \scheme
2242 \context Staff \scheme
2248 By default, a chord name system proposed by Harald Banter (See
2249 @ref{Literature}) is used. The system is very regular and predictable.
2250 Typical American style chord names may be selected by setting the
2251 @code{style} property of the @code{ChordNames.ChordName} grob to
2252 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2254 Routines that determine the names to be printed are written in Scheme,
2255 and may be customized by the user. The code can be found in
2256 @file{scm/chord-name.scm}. Here's an example showing the differences in
2260 @c maybe just junk verbatim option?
2261 @lilypond[verbatim,singleline]
2271 \context ChordNames = banter \scheme
2272 \context ChordNames = american {
2273 \property ChordNames.ChordName \override
2274 #'style = #'american \scheme }
2275 \context ChordNames = jazz {
2276 \property ChordNames.ChordName \override
2277 #'style = #'jazz \scheme }
2278 \context Staff \transpose c'' \scheme
2285 @section Writing parts
2287 Orchestral music involves some special notation, both in the full score,
2288 as in the individual parts. This section explains how to tackle common
2289 problems in orchestral music.
2296 * Instrument names::
2298 * Sound output for transposing instruments::
2299 * Multi measure rests::
2300 * Automatic part combining::
2301 * Hara kiri staffs::
2304 @c . {Rehearsal marks}
2305 @node Rehearsal marks
2306 @subsection Rehearsal marks
2307 @cindex Rehearsal marks
2309 @cindex @code{\mark}
2310 @cindex @code{Mark_engraver}
2313 \mark @var{unsigned}
2318 This command prints a rehearsal mark above the system. You can provide
2319 a number, a string or a markup text as argument. If you use
2320 @code{\default}, the value of property @code{rehearsalMark} is used and
2321 automatically incremented.
2323 @lilypond[fragment,verbatim]
2329 c1 \mark #'(music "scripts-segno")
2334 The grob is @code{Score.RehearsalMark}. See
2335 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2338 @subsection Bar numbers
2340 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2341 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2345 It is not possible to have bar numbers printed at regular intervals
2348 @node Instrument names
2349 @subsection Instrument names
2351 You can specify an instrument name for a staff by setting
2352 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2353 before the start of the staff. For the first start, @code{instrument} is
2354 used, for the next ones @code{instr} is used.
2356 @lilypond[verbatim,singleline]
2357 \property Staff.instrument = "ploink " { c''4 }
2360 You can also use markup texts to construct more complicated instrument
2364 @lilypond[verbatim,singleline]
2366 '((font-relative-size . -2 ) (music "accidentals--1")))
2369 \property Staff.instrument = #`((kern . 0.5) (lines
2370 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2378 When you put a name on a grand staff or piano staff the width of the
2379 brace is not taken into account. You must add extra spaces to the end of
2380 the name to avoid a collision.
2383 @subsection Transpose
2385 @cindex transposition of pitches
2386 @cindex @code{\transpose}
2388 A music expression can be transposed with @code{\transpose}. The syntax
2391 \transpose @var{pitch} @var{musicexpr}
2394 This means that middle C in @var{musicexpr} is transposed to
2397 @code{\transpose} distinguishes between enharmonic pitches: both
2398 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2399 a tone. The first version will print sharps and the second version
2402 @lilypond[fragment,verbatim]
2405 { \key e \major c d e f }
2407 \transpose des'' { \key e \major c d e f }
2408 \transpose cis'' { \key e \major c d e f }
2412 If you want to use both @code{\transpose} and @code{\relative}, then
2413 you must use @code{\transpose} first. @code{\relative} will have no
2414 effect music that appears inside a @code{\transpose}.
2416 @node Sound output for transposing instruments
2417 @subsection Sound output transposing instruments
2419 When you want to play a score containing transposed and untransposed
2420 instruments, you have to instruct LilyPond the pitch offset (in
2421 semitones) for the transposed instruments. This is done using the
2422 @code{transposing} property. It does not affect printed output.
2424 @cindex @code{transposing}
2427 \property Staff.instrument = #"Cl. in B-flat"
2428 \property Staff.transposing = #-2
2432 @c . {Multi measure rests}
2433 @node Multi measure rests
2434 @subsection Multi measure rests
2435 @cindex Multi measure rests
2439 Multi measure rests are entered using `@code{R}'. It is specifically
2440 meant for full bar rests and for entering parts: the rest can expand to
2442 rests, or it can be printed as a single multimeasure rest This expansion
2443 is controlled by the property @code{Score.skipBars}. If this is set to true,
2444 Lily will not expand empty measures, and the appropriate number is added
2447 @lilypond[fragment,verbatim]
2448 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2451 Notice that the @code{R2.} is printed as a whole rest, centered in the
2454 @cindex whole rests for a full measure
2458 Currently, there is no way to condense multiple rests into a single
2461 @cindex condensing rests
2463 @node Automatic part combining
2464 @subsection Automatic part combining
2465 @cindex automatic part combining
2466 @cindex part combiner
2469 Automatic part combining is used to merge two parts of music onto a
2470 staff in an intelligent way. It is aimed primarily at typesetting
2471 orchestral scores. When the two parts are identical for a period of
2472 time, only one is shown. In places where the two parts differ, they are
2473 typeset as separate voices, and stem directions are set automatically.
2474 Also, solo and @emph{a due} parts can be identified and marked.
2476 The syntax for part combining is
2479 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2481 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2482 combined into one context of type @var{context}. The music expressions
2483 must be interpreted by contexts whose names should start with @code{one}
2486 The most useful function of the part combiner is to combine parts into
2487 one voice, as common for wind parts in orchestral scores:
2489 @lilypond[verbatim,singleline,fragment]
2491 \context Voice=one \partcombine Voice
2492 \context Thread=one \relative c'' {
2495 \context Thread=two \relative c'' {
2501 Notice that the first @code{g} appears only once, although it was
2502 specified twice (once in each part). Stem, slur and tie directions are
2503 set automatically, depending whether there is a solo or unisono. The
2504 first part (with context called @code{one}) always gets up stems, and
2505 `solo', while the second (called @code{two}) always gets down stems and
2508 If you just want the merging parts, and not the textual markings, you
2509 may set the property @var{soloADue} to false.
2511 @lilypond[verbatim,singleline,fragment]
2513 \property Staff.soloADue = ##f
2514 \context Voice=one \partcombine Voice
2515 \context Thread=one \relative c'' {
2518 \context Thread=two \relative c'' {
2524 There are a number of other properties that you can use to tweak the
2525 behavior of part combining, refer to the automatically generated
2526 documentation. Look at the documentation of the responsible engravers,
2527 @code{Thread_devnull_engraver}, @code{Voice_devnull_engraver} and
2532 In @code{soloADue} mode, when the two voices play the same notes on and
2533 off, the part combiner may typeset @code{a2} more than once in a
2536 @lilypond[fragment,singleline]
2538 \context Voice=one \partcombine Voice
2539 \context Thread=one \relative c'' {
2542 \context Thread=two \relative c'' {
2548 @cindex @code{Thread_devnull_engraver}
2549 @cindex @code{Voice_engraver}
2550 @cindex @code{A2_engraver}
2552 @node Hara kiri staffs
2553 @subsection Hara kiri staffs
2555 In orchestral scores, staffs that only have rests are usually removed.
2556 This saves some space. LilyPond also supports this through the hara
2557 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2558 the Japanese Samourai warriors.} staff. This staff commits suicide when
2559 it finds itself to be empty after the line-breaking process. It will
2560 not disappear when it contains normal rests, you must use multi measure
2563 The hara kiri staff is specialized version of the Staff context. It is
2564 available as the context identifier @code{\HaraKiriStaffContext}.
2565 Observe how the second staff in this example disappears in the second
2570 \notes \relative c' <
2571 \context Staff = SA { e4 f g a \break c1 }
2572 \context Staff = SB { c4 d e f \break R1 }
2576 \translator { \HaraKiriStaffContext }
2589 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2590 staff context symbol that appears at the end of a staff line. It
2591 anticipates the pitch of the first note(s) of the following line and
2592 thus helps the player or singer to manage line breaks during
2593 performance, thus enhancing readability of a score.
2598 \property Staff.Custos \set #'style = #'mensural
2603 \consists Custos_engraver
2609 Custodes were frequently used in music notation until the 16th century.
2610 There were different appearances for different notation styles.
2611 Nowadays, they have survived only in special forms of musical notation
2612 such as via the @emph{editio vaticana} dating back to the beginning of
2615 For typesetting custodes, just put a @code{Custos_engraver} into the
2616 @code{StaffContext} when declaring the @code{\paper} block. In this
2617 block, you can also globally control the appearance of the custos symbol
2618 by setting the custos @code{style} property. Currently supported styles
2619 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2626 \consists Custos_engraver
2627 Custos \override #'style = #'mensural
2632 The property can also be set locally, for example in a @code{\notes}
2637 \property Staff.Custos \override #'style = #'vaticana
2638 c'1 d' e' d' \break c' d' e' d'
2642 @c . {Tuning output}
2644 @section Tuning output
2646 LilyPond tries to take as much formatting as possible out of your
2647 hands. Nevertheless, there are situations where it needs some help, or
2648 where you want to override its decisions. In this section we discuss
2649 ways to do just that.
2651 Formatting is internally done by manipulating so called grobs (graphic
2652 objects). Each grob carries with it a set of properties (grob
2653 properties) specific to that object. For example, a stem grob has
2654 properties that specify its direction, length and thickness.
2656 The most direct way of tuning the output is by altering the values of
2657 these properties. There are two ways of doing that: first, you can
2658 temporarily change the definition of a certain type of grob, thus
2659 affecting a whole set of objects. Second, you can select one specific
2660 object, and set a grob property in that object.
2663 * Tuning groups of grobs ::
2664 * Tuning per grob ::
2672 @node Tuning groups of grobs
2673 @subsection Tuning groups of grobs
2675 @cindex grob description
2679 A grob definition is a Scheme association list, that is stored in a
2680 context property. By assigning to that property (using plain
2681 @code{\property}), you can change the resulting grobs.
2683 @lilypond[verbatim, fragment]
2684 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2687 The @code{\property} assignment effectively empties the definition of
2688 the Stem object. One of the effects is the recipe of how it should be
2689 printed is erased, with the effect of rendering it invisible. The above
2690 assignment is available as a standard identifier, for the case that you
2694 \property Voice.Stem = \turnOff
2701 This mechanism is fairly crude, since you can only set, but not modify,
2702 the definition of a grob. For this reason, there is a more advanced
2705 The definition of a grob is actually a list of default grob
2706 properties. For example, the definition of the Stem grob (available in
2707 @file{scm/grob-description.scm}), defines the following values for
2712 (beamed-lengths . (0.0 2.5 2.0 1.5))
2713 (Y-extent-callback . ,Stem::height)
2717 You can add a property on top of the existing definition, or remove a
2718 property, thus overriding the system defaults:
2720 c'4 \property Voice.Stem \override #'thickness = #4.0
2721 c'4 \property Voice.Stem \revert #'thickness
2724 You should balance @code{\override} and @code{\revert}. If that's too
2725 much work, you can use the @code{\set} shorthand. It performs a revert
2726 followed by an override. The following example gives exactly the same
2727 result as the previous one.
2729 c'4 \property Voice.Stem \set #'thickness = #4.0
2730 c'4 \property Voice.Stem \set #'thickness = #0.8
2733 If you use @code{\set}, you must explicitly restore the default.
2736 Formally the syntax for these constructions is
2738 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2739 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2740 \property @var{context}.@var{grobname} \revert @var{symbol}
2742 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2743 and @var{grobname} are strings and @var{value} is a Scheme expression.
2746 If you revert a setting which was not set in the first place, then it
2747 has no effect. However, if the setting was set as a system default, it
2748 may remove the default value, and this may give surprising results,
2749 including crashes. In other words, @code{\override} and @code{\revert},
2750 must be carefully balanced.
2752 These are examples of correct nesting of @code{\override}, @code{\set},
2755 A clumsy but correct form:
2757 \override \revert \override \revert \override \revert
2760 Shorter version of the same:
2762 \override \set \set \revert
2765 A short form, using only @code{\set}. This requires you to know the
2768 \set \set \set \set @var{to default value}
2771 If there is no default (i.e. by default, the grob property is unset),
2774 \set \set \set \revert
2777 For the digirati, the grob description is an Scheme association
2778 list. Since a Scheme list is a singly linked list, we can treat it as a
2779 stack, and @code{\override} and @code{\revert} are just push and pop
2780 operations. This pushing and popping is also used for overriding
2781 automatic beaming settings.
2785 LilyPond will hang or crash if @var{value} contains cyclic references.
2786 The backend is not very strict in type-checking grob properties. If you
2787 @code{\revert} properties that are expected to be set by default,
2790 Some grobs are created at the moment that their context is created. An
2791 example of such a grob is the staff itself (i.e. the horizontal lines).
2792 You can not change the appearance of the staff symbol by manipulating
2793 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2794 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2795 created before any @code{\override} is effective. You can deal with this
2796 either overriding properties in a @code{\translator} definition, or by
2797 using @code{\outputproperty}.
2802 @node Tuning per grob
2803 @subsection Tuning per grob
2805 @cindex \outputproperty
2807 A second way of tuning grobs is the more arcane @code{\outputproperty}
2808 feature. The syntax is as follows:
2810 \outputproperty @var{predicate} @var{symbol} = @var{value}
2812 Here @code{predicate} is a Scheme function taking a grob argument, and
2813 returning a boolean. This statement is processed by the
2814 @code{Output_property_engraver}. It instructs the engraver to feed all
2815 grobs that it sees to @var{predicate}. Whenever the predicate returns
2816 true, the grob property @var{symbol} will be set to @var{value}.
2818 You will need to combine this statement with @code{\context} to select
2819 the appropriate context to apply this to.
2821 Here are some random examples.
2824 In the following example, all note heads occurring at current staff
2825 level, are shifted up and right by setting their @code{extra-offset}
2828 @lilypond[fragment,verbatim,singleline]
2830 \context Staff \outputproperty
2831 #(make-type-checker 'note-head-interface)
2832 #'extra-offset = #'(0.5 . 0.75)
2836 @cindex @code{extra-offset}
2838 In this example, the predicate checks the @code{text} grob property, to
2839 shift only the `m.d.' text, but not the fingering instruction "2".
2840 @lilypond[verbatim,singleline]
2841 #(define (make-text-checker text)
2842 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2845 \notes\relative c''' {
2846 \property Voice.Stem \set #'direction = #1
2847 \outputproperty #(make-text-checker "m.d.")
2848 #'extra-offset = #'(-3.5 . -4.5)
2856 If possible, avoid this feature: the semantics are not very clean, and
2857 the syntax and semantics are up for rewrite.
2863 @subsection What to tune?
2865 This all tells you how to tune grobs, but you don't know what variables
2866 to set? The question is not answered in this manual (although you may
2867 encounter some examples.).
2869 Grob properties are tied directly to the implementation of LilyPond, and
2870 they are thus a moving target. Documentation of such variables is in the
2871 automatically generated documentation. Description of properties are
2872 generated from the source code for each version. This documentation is
2873 therefore more up to date. It should be available from the same place
2874 where you got this manual.
2876 To decide how to tune a grob, you need to find the following information
2879 which grob to modify
2881 which property to modify
2883 which context the grob comes from.
2886 Included with the automatically generated documentation is a master list
2887 of grobs. Selecting a grob will take you to an overview of the
2888 properties available for that grob.
2890 There is also a master list of contexts. Selecting one takes you to an
2891 overview of that context which lists which grob types are created there.
2894 @node Font selection
2895 @subsection Font selection
2897 Most graphics in LilyPond are composed of characters of fonts. You can
2898 alter the characteristics of the font by setting certain grob
2899 properties. The mechanism that is used for this resembles La@TeX{}'s New
2900 Font Selection Scheme. Within this scheme, a font is entirely
2901 characterized by its font name.
2903 For each grob that uses fonts (in other words, each grob that supports
2904 @code{font-interface}) a font-name must be selected before it can be
2905 printed. The font name is selected by looking at a number of grob
2910 A symbol indicating the general class of the typeface. Supported are
2911 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2912 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2913 signs) and @code{typewriter}
2916 A symbol indicating the shape of the font, a finer gradation than
2917 font-family. Choices are @code{italic}, @code{caps} and @code{upright}
2920 A symbol indicating the series of the font. @code{font-series} form a
2922 than @code{font-shape}. Choices are @code{medium} and @code{bold}.
2924 @item font-relative-size
2925 A number indicating the size relative the standard size. For example,
2926 with 20pt staff height, relative size -1 corresponds to 16pt staff
2927 height, and relative size +1 corresponds to 23 pt staff height.
2929 @item font-design-size
2930 A number indicating the design size of the font.
2932 This is a feature of the Computer Modern Font: each point size has a
2933 slightly different design. Smaller design sizes are relatively wider,
2934 which enhances readability. Scalable type faces such TrueType and Adobe
2935 Type1 usually come as ``one design fits all sizes''.
2938 The name of the font, without the design size, e.g. @code{cmr},
2939 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2944 The font is selected by taking the first font that satisfies all
2945 qualifiers specified. You can override any of these fields through
2946 @code{\override} and @code{\revert}. The special value @code{*} matches
2947 any value for that qualifier.
2950 \property Lyrics.LyricText \override #'font-series = #'bold
2951 \property Lyrics.LyricText \override #'font-shape = #'*
2954 @cindex @code{font-style}
2956 There are also pre-cooked font selection qualifiers. These are selected
2957 through the grob property @code{font-style}. For example, the style
2958 @code{finger} selects family @code{number} and relative size @code{-3}.
2959 Styles available include @code{volta}, @code{finger}, @code{tuplet},
2960 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
2963 The style sheets and tables for selecting fonts are located in
2964 @file{scm/font.scm}. Refer to this file for more information.
2968 Relative size is not linked to any real size.
2970 There is no mechanism to select magnification of particular fonts,
2971 meaning that you don't have access to continuously scaled fonts. You
2972 can scale the entire output, of course, see @ref{Output scaling}.
2974 There is no style sheet provided for other fonts besides the @TeX{}
2977 @cindex font selection
2978 @cindex font magnification
2979 @cindex @code{font-interface}
2983 @subsection Text markup
2987 LilyPond has an internal mechanism to typeset texts. You can
2988 form text markup expressions by composing scheme expressions
2989 in the following way.
2991 @lilypond[verbatim, singleline]
2996 c^#'(italic "italic")
2997 d_#'((bold italic) "ff")
2999 f_#'(lines "one" (bold "two"))
3000 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3004 Normally, the Scheme markup text is stored in the @code{text} property
3005 of a grob. Formally, it is defined as follows:
3008 text: string | (head? text+)
3009 head: markup | (markup+)
3010 markup-item: property | abbrev
3011 property: (@var{key} . @var{value})
3012 abbrev: @code{columns lines roman music bold italic named super sub
3014 @code{finger volta timesig mmrest mark script large Large dynamic}
3017 The markup is broken down and converted into a list of grob properties,
3018 which are prepended to the property list. The @var{key}-@var{value}
3019 pair is a grob property. A list of properties available is included in
3020 the generated documentation for @code{text-interface}
3022 The following abbreviations are currently defined:
3025 horizontal mode: set all text on one line (default)
3027 vertical mode: set every text on a new line
3031 selects the Feta font (the standard font for music notation glyphs),
3032 and uses named lookup
3039 lookup by character name
3041 plain text lookup (by character value)
3047 the next text or character overstrikes this one
3049 select fingering number fontstyle
3051 select volta number fontstyle
3053 select time signature number fontstyle
3055 select multi measure rest number fontstyle
3057 select mark number fontstyle
3059 select scriptsize roman fontstyle
3061 select large roman fontstyle
3063 select Large roman fontstyle
3065 select dynamics fontstyle
3069 @cindex metronome mark
3071 One practical application of complicated markup is to fake a metronome
3075 #(define note '(columns
3076 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3077 #(define eight-note `(columns ,note ((kern . -0.1)
3078 (music ((raise . 3.5) "flags-u3")))))
3079 #(define dotted-eight-note
3080 `(columns ,eight-note (music "dots-dot")))
3083 \notes\relative c'' {
3084 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3090 TextScript \override #'font-shape = #'upright
3096 @node Invisible grobs
3097 @subsection Invisible grobs
3098 @cindex invisible grobs
3102 ben nog steeds niet kapot van de informatiedichtheid hier.
3108 You can imagine a number of situations where you would want to make
3109 certain grobs not show up in the output. There may be aesthetic
3110 reasons, to make the output resemble an (old) manuscript as close as
3111 possible, or to make lessons or exercises for students.
3113 Grobs can be made invisible in a number of ways:
3115 Here's an example with blanked-out notes and stems:
3116 @lilypond[singleline,verbatim]
3118 \property Voice.NoteHead \override
3120 \property Voice.Stem \override
3121 #'transparent = ##t }
3124 \property Voice.NoteHead \revert #'transparent
3125 \property Voice.Stem \revert #'transparent }
3128 \notes\relative c'' {
3130 a b c b \blanknotes c \unblanknotes d
3135 A very rigorous way of removing grobs from the output is to remove the
3136 engraver that creates them. For example,
3139 \score {\notes { c'4 d'8 e'8 g2 }
3140 \paper { \translator {
3142 \remove Stem_engraver
3149 @subsection Dirty tricks
3150 @cindex embedded tex
3152 It is possible to use @TeX{} commands in the strings, but this should be
3153 avoided because this makes it impossible for LilyPond to compute the
3154 exact length of the string, which may lead to collisions. Also, @TeX{}
3155 commands won't work with direct PostScript output (see @ref{PostScript
3158 @lilypond[fragment,relative,verbatim]
3159 a''^"3 $\\times$ \\`a deux"
3162 You can also use raw PostScript commands embedded in text scripts. This
3163 offers ultimate flexibility, but requires you to learn PostScript.
3164 Currently, embedded PostScript will @strong{not} work with direct
3165 PostScript output. Note that all dimensions that you use are in staff
3170 \notes \relative c'' {
3171 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3172 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3173 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3177 \paper { linewidth = 70*\staffspace }
3184 @section Page layout
3187 The page layout is the combined product of LilyPond formatting notation,
3188 and (La)@TeX{} putting the notation on a page, including page breaks.
3189 The part of LilyPond is documented here.
3203 @subsection Paper block
3206 The most important output definition is the @code{\paper} block, for
3207 music notation. The syntax is
3210 @code{\paper @{} @var{[paperidentifier]} @var{items} @code{@}}
3213 where each of the items is one of
3216 @item An assignment.
3218 @item A context definition. See @ref{Interpretation context} for
3219 more information on context definitions.
3221 @item \stylesheet declaration. Its syntax is
3223 \stylesheet @var{alist}
3226 See @file{scm/font.scm} for details of @var{alist}.
3227 @item an @code{\elementdescriptions} declaration.
3229 \elementdescriptions @var{alist}
3231 See @file{scm/grob-description.scm} for details of
3232 @var{alist}. This command is not user-serviceable.
3236 @c . {Paper variables}
3237 @node Paper variables
3238 @subsection Paper variables
3239 @cindex Paper variables
3241 The paper block has some variables you may want to use or change:
3244 @cindex @code{indent}
3246 The indentation of the first line of music.
3247 @cindex @code{staffspace}
3249 @item @code{staffspace}
3250 The distance between two staff lines, calculated from the center
3253 @cindex @code{linewidth}
3254 @item @code{linewidth}
3255 Sets the width of the lines.
3257 If set to a negative value, a single unjustified line is produced.
3258 @c rename to singleLinePaper ?
3259 The shorthand @code{\singleLine} defines a default paper block that
3260 produces a single line.
3262 @cindex @code{textheight}
3264 @item @code{textheight}
3265 Sets the total height of the music on each page. Only used by
3268 @cindex @code{interscoreline}
3270 @item @code{interscoreline}
3271 Sets the spacing between systems.
3273 @cindex @code{interscorelinefill}
3275 @item @code{interscorelinefill}
3276 If set to a positive number, the distance between the score
3277 lines will stretch in order to fill the full page. In that
3278 case @code{interscoreline} specifies the minimum spacing.
3283 @cindex @code{stafflinethickness}
3285 @item @code{stafflinethickness}
3286 Determines the thickness of staff lines, and also acts as a scaling
3287 parameter for other line thicknesses.
3290 You may enter these dimension using units (@code{cm}, @code{in},
3291 @code{mm}, @code{pt}), or relative to another dimension
3293 linewidth = 20.0 * \staffspace
3300 @subsection Font size
3303 The Feta font provides musical symbols at six different sizes. These
3304 fonts are 11 point, 13 point, 16 point, 20 point,
3305 23 point, and 26 point. The point size of a font is the
3306 height of the five lines in a staff when displayed in the font.
3308 Definitions for these sizes are the files @file{paperSZ.ly}, where
3309 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3310 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3311 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3312 @code{paperTwentysix} are defined respectively. The default
3313 @code{\paper} block is also set.
3315 The font definitions are generated using a Scheme function. For more
3316 details, see the file @file{scm/font.scm}.
3322 @subsection Paper size
3327 @cindex @code{papersize}
3329 To change the paper size, you must first set the
3330 @code{papersize} variable at top level. Set it to
3331 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3332 specification, you must set the font as described above. If you want
3333 the default font, then use the 20 point font.
3337 \include "paper16.ly"
3340 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3341 will set the paper variables @code{hsize} and @code{vsize} (used by
3346 @subsection Line break
3349 @cindex breaking lines
3351 Line breaks are normally computed automatically. They are chosen such
3352 that the resulting spacing has low variation, and looks neither cramped
3355 Occasionally you might want to override the automatic breaks; you can do
3356 this by specifying @code{\break}. This will force a line break at this
3357 point. Do remember that line breaks can only occur at places where there
3358 are bar lines. If you want to have a line break where there is no
3359 bar line, you can force an invisible bar line by entering @code{\bar
3360 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3362 @cindex @code{\penalty}
3364 The @code{\break} and @code{\noBreak} commands are defined in terms of
3365 the penalty command:
3370 This encourages or discourages LilyPond to make a line break at this
3375 The scaling of the @code{\penalty} argument is not well-defined. The
3376 command is rather kludgey, and slated for rewriting.
3380 @subsection Page break
3383 @cindex breaking pages
3386 Page breaks are normally computed by @TeX{}, so they are not under
3387 direct control of LilyPond. However, you can insert a commands into the
3388 @file{.tex} output to instruct @TeX{} where to break pages. For more
3389 details, see the example file @file{input/test/between-systems.ly}
3393 @c . {Output scaling}
3394 @node Output scaling
3395 @subsection Output scaling
3409 There is no mechanism to select magnification of particular fonts,
3410 meaning that you don't have access to continuously scaled fonts.
3414 @c . {Output formats}
3415 @node Output formats
3416 @section Output formats
3418 LilyPond can output processed music in different output formats.
3422 * PostScript output::
3424 * ASCIIScript output::
3428 @subsection TeX output
3431 LilyPond will use @TeX{} by default. Even if you want to produce
3432 PostScript output for viewing or printing, you should normally have
3433 LilyPond produce @TeX{} first. The .tex output must be processed by
3434 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3435 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3436 used to generate the .dvi for you.
3440 Titling is not generated.
3443 @node PostScript output
3444 @subsection PostScript output
3445 @cindex PostScript output
3446 @cindex direct PostScript output
3448 LilyPond can produce PostScript directly, without going through @TeX{}.
3449 Currently, this is mainly useful if you cannot use TeX, because direct
3450 PostScript output has some problems; see Bugs below.
3453 $ lilypond -fps foo.ly
3454 GNU LilyPond 1.3.144
3455 Now processing: `foo.ly'
3457 Interpreting music...[3]
3458 Preprocessing elements...
3459 Calculating column positions...
3460 paper output to foo.ps...
3462 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3468 Text font selection is broken.
3470 The .ps file does not contain the .pfa font files. To print a .ps
3471 created through direct postscript output, you should prepend the
3472 necessary .pfa files to LilyPond's .ps output, or upload them to the
3473 printer before printing.
3475 The line height calculation is broken, you must set @var{lineheight} in
3476 the paperblock if you have more than one staff in your score, e.g.
3481 % Set line height to 40 staff spaces
3487 @subsection Scheme output
3488 @cindex Scheme output
3490 In the typesetting stage, LilyPond builds a page description, which is
3491 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3492 written, the page description is represented as Scheme expressions. You
3493 can also dump these Scheme expressions to a file, which may be
3494 convenient for debugging output routines. This done with the Scheme
3498 $ lilypond -fscm foo.ly
3499 GNU LilyPond 1.3.144
3500 Now processing: `foo.ly'
3502 Interpreting music...[3]
3503 Preprocessing elements...
3504 Calculating column positions...
3505 paper output to foo.scm...
3508 ;;; Usage: guile -s x.scm > x.tex
3509 (primitive-load-path 'standalone.scm)
3513 $ guile -s foo.scm > foo.tex
3517 @node ASCIIScript output
3518 @subsection ASCIIScript output
3519 @cindex ASCIIScript output
3520 @cindex ascii script
3523 LilyPond can output ASCII Art. This is a two step process, LilyPond
3524 produces an ASCII description file, dubbed ASCIIScript (extension
3525 @file{.as}). ASCIIScript has a small and simple command set that
3526 includes font selection, character and string printing and line drawing
3527 commands. The program @file{as2text} is used to translate an .as file
3530 To produce ASCII Art, you must include an ASCII Art paper definition
3531 file in your .ly, one of:
3533 \include "paper-as5.ly"
3534 \include "paper-as9.ly"
3537 Here's an example use for ASCII Art output (the example file
3538 @file{as-email.ly} is included in the LilyPond distribution), the staff
3539 symbol has been made invisible:
3542 $ lilypond -fas as-email.ly
3543 GNU LilyPond 1.3.144
3544 Now processing: `as-email.ly'
3546 Interpreting music...[3]
3547 Preprocessing elements...
3548 Calculating column positions... [2]
3549 paper output to as-email.as...
3551 $ as2text as-email.as 2>/dev/null
3553 |/ |##|##| | | | | |
3554 /| | | | | |\ |\ |\ |\ |\ |
3555 / |_ 3 | | | | 5 | )| )| )| )| )|
3556 | /| \ 8 * * * | 8 * * * * * |
3566 The ASCII Art fonts are far from complete and not very well designed.
3567 It's easy to change the glyphs, though; if you think you can do better,
3568 have a look at @file{mf/*.af}.
3570 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3572 The poor looks of most ASCII Art output and its limited general
3573 usefulness make that ASCII Art output has a low priority; it may be
3574 dropped in future versions.
3581 LilyPond can produce MIDI output. The performance lacks lots of
3582 interesting effects, such as swing, articulation, slurring, etc., but it
3583 is good enough for proof-hearing the music you have entered. Ties,
3584 dynamics and tempo changes are interpreted.
3586 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3587 levels. Dynamic marks translate to a fixed fraction of the available
3588 MIDI volume range, crescendi and decrescendi make the the volume vary
3589 linearly between their two extremities. The fractions be adjusted by
3590 overriding the @code{absolute-volume-alist} defined in
3591 @file{scm/midi.scm}.
3593 For each type of musical instrument (that MIDI supports), a volume range
3594 can be defined. This gives you basic equalizer control, which can
3595 enhance the quality of the MIDI output remarkably. You can add
3596 instruments and ranges or change the default settings by overriding the
3597 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3599 Both loudness controls are combined to produce the final MIDI volume.
3604 It is currently not possible to use the percussion channel (generally
3605 channel 10 of a MIDI file).
3609 * MIDI instrument names::
3614 @subsection MIDI block
3618 The MIDI block is analogous to the paper block, but it is somewhat
3619 simpler. The @code{\midi} block can contain:
3623 @item a @code{\tempo} definition
3624 @item context definitions
3627 Assignments in the @code{\midi} block are not allowed.
3631 @cindex context definition
3633 Context definitions follow precisely the same syntax as within the
3634 \paper block. Translation modules for sound are called performers.
3635 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3638 @node MIDI instrument names
3639 @subsection MIDI instrument names
3641 @cindex instrument names
3642 @cindex @code{Staff.midiInstrument}
3643 @cindex @code{Staff.instrument}
3645 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3646 property or, if that property is not set, the @code{Staff.instrument}
3647 property. The instrument name should be chosen from the list in
3648 @ref{MIDI instruments}.
3652 If the selected string does not exactly match, then LilyPond uses the
3653 default (Grand Piano). It is not possible to select an instrument by
3666 @section Music entry
3674 One of the applications of LilyPond is to enter music from existing
3675 written or printed material. When you're doing this kind of copying
3676 work, you can easily make mistakes. This section deals with tricks and
3677 features that help you enter music, and find and correct mistakes.
3681 @subsection Relative
3683 @cindex relative octave specification
3685 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3686 When you copy existing music, it is easy to accidentally put a pitch in
3687 the wrong octave and hard to find such an error. To prevent these
3688 errors, LilyPond features octave entry.
3690 @cindex @code{\relative}
3692 \relative @var{startpitch} @var{musicexpr}
3695 The octave of notes that appear in @var{musicexpr} are calculated as
3696 follows: If no octave changing marks are used, the basic interval
3697 between this and the last note is always taken to be a fourth or less
3698 (This distance is determined without regarding alterations; a
3699 @code{fisis} following a @code{ceses} will be put above the
3702 The octave changing marks @code{'} and @code{,} can be added to raise or
3703 lower the pitch by an extra octave. Upon entering relative mode, an
3704 absolute starting pitch must be specified that will act as the
3705 predecessor of the first note of @var{musicexpr}.
3707 Entering music that changes octave frequently is easy in relative mode.
3708 @lilypond[fragment,singleline,verbatim,center]
3714 And octave changing marks are used for intervals greater than a fourth.
3715 @lilypond[fragment,verbatim,center]
3717 c g c f, c' a, e'' }
3720 If the preceding item is a chord, the first note of the chord is used
3721 to determine the first note of the next chord. But other notes
3722 within the second chord are determined by looking at the immediately
3725 @lilypond[fragment,verbatim,center]
3732 @cindex @code{\notes}
3734 The pitch after the @code{\relative} contains a note name. To parse
3735 the pitch as a note name, you have to be in note mode, so there must
3736 be a surrounding @code{\notes} keyword (which is not
3739 The relative conversion will not affect @code{\transpose},
3740 @code{\chords} or @code{\relative} sections in its argument. If you
3741 want to use relative within transposed music, you must place an
3742 additional @code{\relative} inside the @code{\transpose}.
3747 @subsection Bar check
3751 @cindex @code{barCheckNoSynchronize}
3755 Whenever a bar check is encountered during interpretation, a warning
3756 message is issued if it doesn't fall at a measure boundary. This can
3757 help you find errors in the input. Depending on the value of
3758 @code{barCheckNoSynchronize}, the beginning of the measure will be
3759 relocated, so this can also be used to shorten measures.
3761 A bar check is entered using the bar symbol, @code{|}:
3763 \time 3/4 c2 e4 | g2.
3766 @c . {Point and click}
3767 @node Point and click
3768 @subsection Point and click
3770 Point and click lets you find notes in the input by clicking on them in
3771 the Xdvi window. This makes it very easy to find input that causes some
3772 error in the sheet music.
3774 To use it, you need the following software
3776 @unnumberedsubsec Installation
3780 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3781 Xdvi} version 22.36 or newer.
3783 Note that most @TeX{} distributions ship with xdvik, which is a
3784 different and less well maintained program. To find out which xdvi you
3785 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3789 Xdvi must be configured to find the TeX fonts and music
3790 fonts. Refer to the Xdvi documentation for more information.
3793 @unnumberedsubsec Using it
3795 Add one of these lines to the top of your .ly file. The first one is for
3796 line location only. The second one is more convenient, but requires
3797 patching @code{emacsclient} and @code{server.el}.
3800 #(set! point-and-click line-location)
3803 In the emacs startup file (usually @file{~/.emacs}), add the following
3808 Make sure that the environment variable @code{XEDITOR} is set
3811 emacsclient --no-wait +%l %f
3813 The second one, that also specifies the column, only works if you have
3814 patched your emacsclient and server, and have compiled your @code{.ly}
3815 file using the @code{line-column-location} setting.
3817 When viewing, control-mousebutton 1 will take you to the originating
3818 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3822 @unnumberedsubsec Column location
3824 If you want emacs to jump to the exact spot (and not just the line) on a
3825 click, you must enable column positioning. To do so, you need to patch
3826 emacsclient. Apply @file{emacsclient.patch} (included with the source
3827 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3828 source code. Recompile and stick the recompiled emacsclient into a bin
3829 directory, and put @file{server.el} into a elisp directory
3830 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3831 init file, before invoking server-start.
3834 (setq load-path (cons "~/usr/share/emacs" load-path))
3837 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3839 At the top of the @code{ly} file, replace the @code{set!} line with the
3842 #(set! point-and-click line-column-location)
3849 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3850 will complain about not finding @code{src:X:Y} files. Those complaints
3851 are harmless, and can be ignored.
3853 When using @code{line-colum-location}, the cursor will be one off; it
3854 will not jump to the exact note that you clicked, but to the next one.
3858 @node Skipping corrected music
3859 @section Skipping corrected music
3861 The property @code{Score.skipTypesetting} can be used to switch on and
3862 off typesetting completely during the interpretation phase. When
3863 typesetting is switched off, the music is processed much more quickly.
3864 You can use this to skip over the parts of a score that you have already
3867 @lilypond[fragment,singleline,verbatim]
3868 \relative c'' { c8 d
3869 \property Score.skipTypesetting = ##t
3871 \property Score.skipTypesetting = ##f
3876 @node Interpretation context
3877 @section Interpretation context
3880 * Creating contexts::
3881 * Default contexts::
3882 * Context properties::
3883 * Engravers and performers::
3884 * Changing context definitions::
3885 * Defining new contexts::
3889 Interpretation contexts are objects that only exist during a run of
3890 LilyPond. During the interpretation phase of LilyPond (when it prints
3891 "interpreting music"), the music expression in a @code{\score} block is
3892 interpreted in time order. This is the same order that humans hear and
3895 During this interpretation, the interpretation context is holds the
3896 state for the current point within the music. It contains information
3900 @item What notes are playing at this point?
3901 @item What symbols will be printed at this point?
3902 @item What is the current key signature, time signature, point within
3906 Contexts are grouped hierarchically: A @code{Voice} context is
3907 contained in a @code{Staff} context (because a staff can contain
3908 multiple voices at any point), a @code{Staff} context is contained in
3909 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
3911 Contexts associated with sheet music output are called @emph{notation
3912 contexts}, those for sound output are called @emph{performance
3916 @node Creating contexts
3917 @subsection Creating contexts
3919 @cindex @code{\context}
3920 @cindex context selection
3922 Contexts for a music expression can be selected manually, using the
3923 following music expression.
3926 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3929 This instructs lilypond to interpret @var{musicexpr} within the context
3930 of type @var{contexttype} and with name @var{contextname}. If this
3931 context does not exist, it will be created.
3933 @lilypond[verbatim,singleline]
3935 \notes \relative c'' {
3936 c4 <d4 \context Staff = "another" e4> f
3942 In this example, the @code{c} and @code{d} are printed on the
3943 default staff. For the @code{e}, a context Staff called
3944 @code{another} is specified; since that does not exist, a new
3945 context is created. Within @code{another}, a (default) Voice context
3946 is created for the @code{e4}. When all music referring to a
3947 context is finished, the context is ended as well. So after the
3948 third quarter, @code{another} is removed.
3952 @node Default contexts
3953 @subsection Default contexts
3955 Most music expressions don't need @code{\context}: they inherit the
3956 notation context from their parent. Each note is a music expression, and
3957 as you can see in the following example, only the sequential music
3958 enclosing the three notes has an explicit context.
3960 @lilypond[verbatim,singleline]
3961 \score { \notes \context Voice = goUp { c'4 d' e' } }
3964 There are some quirks that you must keep in mind when dealing with
3967 First, every top-level music is interpreted by the Score context, in other
3968 words, you may think of @code{\score} working like
3971 \context Score @var{music}
3975 Second, sequential music follows the contexts of its
3976 ``children''. Consider the following example.
3978 @lilypond[verbatim, singleline]
3979 \score { \context Score \notes { c'4 ( d' )e' } }
3982 The sequential music is interpreted by the Score context initially
3983 (notice that the @code{\context} specification is redundant), but when a
3984 note is encountered, contexts are setup to accept that note. In this
3985 case, a Thread, Voice and Staff are created. The rest of the sequential
3986 music is also interpreted with the same Thread, Voice and Staff context,
3987 putting the notes on the same staff, in the same voice.
3989 This is a convenient mechanism, but do not expect opening chords to work
3990 without @code{\context}. For every note, a separate staff is
3993 @lilypond[verbatim, singleline]
3994 \score { \notes <c'4 es'> }
3997 Of course, if the chord is preceded by a normal note in sequential
3998 music, the chord will be interpreted by the Thread of the preceding
4000 @lilypond[verbatim,singleline]
4001 \score { \notes { c'4 <c'4 es'> } }
4006 @node Context properties
4007 @subsection Context properties
4009 Notation contexts have properties. These properties are from
4010 the @file{.ly} file using the following expression:
4011 @cindex @code{\property}
4013 \property @var{contextname}.@var{propname} = @var{value}
4016 Sets the @var{propname} property of the context @var{contextname} to the
4017 specified Scheme expression @var{value}. All @var{propname} and
4018 @var{contextname} are strings, which are typically unquoted.
4020 Properties that are set in one context are inherited by all of the
4021 contained contexts. This means that a property valid for the
4022 @code{Voice} context can be set in the @code{Score} context (for
4023 example) and thus take effect in all @code{Voice} contexts.
4025 Properties can be unset using the following expression:
4027 \property @var{contextname}.@var{propname} \unset
4030 @cindex properties, unsetting
4031 @cindex @code{\unset}
4033 This removes the definition of @var{propname} in @var{contextname}. If
4034 @var{propname} was not defined in @var{contextname} (but was inherited
4035 from a higher context), then this has no effect.
4040 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4041 the inverse of @code{\property \set}.
4043 @node Engravers and performers
4044 @subsection Engravers and performers
4048 Basic building blocks of translation are called engravers; they are
4049 special C++ classes.
4053 @c . {Context definitions}
4054 @node Changing context definitions
4055 @subsection Changing context definitions
4057 @cindex context definition
4058 @cindex translator definition
4060 The most common way to define a context is by extending an existing
4061 context. You can change an existing context from the paper block, by
4062 first initializing a translator with an existing context identifier:
4066 @var{context-identifier}
4069 Then you can add and remove engravers using the following syntax:
4071 \remove @var{engravername}
4072 \consists @var{engravername}
4076 Here @var{engravername} is a string, the name of an engraver in the
4080 @lilypond[verbatim,singleline]
4084 \translator { \StaffContext
4085 \remove Clef_engraver
4091 You can also set properties in a translator definition. The syntax is as
4094 @var{propname} = @var{value}
4095 @var{propname} \set @var{grob-propname} = @var{pvalue}
4096 @var{propname} \override @var{grob-propname} = @var{pvalue}
4097 @var{propname} \revert @var{grob-propname}
4099 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4100 and @code{pvalue} are Scheme expressions. These type of property
4101 assignments happen before interpretation starts, so a @code{\property}
4102 command will override any predefined settings.
4105 To simplify editing translators, all standard contexts have standard
4106 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4107 @code{VoiceContext}.
4109 @node Defining new contexts
4110 @subsection Defining new contexts
4112 If you want to build a context from scratch, you must also supply the
4113 following extra information:
4115 @item A name, specified by @code{\name @var{contextname};}.
4117 @item A cooperation module. This is specified by @code{\type
4124 \type "Engraver_group_engraver"
4127 \consists "Staff_symbol_engraver"
4128 \consists "Note_head_engraver"
4129 \consistsend "Axis_group_engraver"
4133 The argument of @code{\type} is the name for a special engraver that
4134 handles cooperation between simple engravers such as
4135 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4136 for this engraver are the following:
4138 @cindex @code{Engraver_group_engraver}
4139 @item @code{Engraver_group_engraver}
4140 The standard cooperation engraver.
4142 @cindex @code{Score_engraver}
4144 @item @code{Score_engraver}
4145 This is cooperation module that should be in the top level context,
4146 and only the top level context.
4148 @cindex @code{Grace_engraver_group}
4150 @item @code{Grace_engraver_group}
4151 This is a special cooperation module (resembling
4152 @code{Score_engraver}) that is used to create an embedded
4159 @item @code{\alias} @var{alternate-name}
4160 This specifies a different name. In the above example,
4161 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4163 @item @code{\consistsend} @var{engravername}
4164 Analogous to @code{\consists}, but makes sure that
4165 @var{engravername} is always added to the end of the list of
4168 Some engraver types need to be at the end of the list; this
4169 insures they stay there even if a user adds or removes engravers.
4170 End-users generally don't need this command.
4172 @item @code{\accepts} @var{contextname}
4173 Add @var{contextname} to the list of context this context can
4174 contain. The first listed context is the context to create by
4177 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4178 completeness, but is never used in practice.
4181 @item @code{\name} @var{contextname}
4182 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4183 the name is not specified, the translator won't do anything.
4186 In the @code{\paper} block, it is also possible to define translator
4187 identifiers. Like other block identifiers, the identifier can only
4188 be used as the very first item of a translator. In order to define
4189 such an identifier outside of @code{\score}, you must do
4194 foo = \translator @{ @dots{} @}
4201 \translator @{ \foo @dots{} @}
4209 @cindex paper types, engravers, and pre-defined translators
4216 @c . {Syntactic details}
4217 @node Syntactic details
4218 @section Syntactic details
4219 @cindex Syntactic details
4221 This section describes details that were too boring to be put elsewhere.
4226 * Music expressions::
4227 * Manipulating music expressions::
4235 @subsection Top level
4238 This section describes what you may enter at top level.
4242 @subsubsection Score
4245 @cindex score definition
4247 The output is generated combining a music expression with an output
4248 definition. A score block has the following syntax:
4251 \score @{ @var{musicexpr} @var{outputdefs} @}
4254 @var{outputdefs} are zero or more output definitions. If none is
4255 supplied, the default @code{\paper} block will be added.
4259 @c . {Default output}
4260 @subsubsection Default output
4262 Default values for the @code{\paper} and @code{\midi} block are set by
4263 entering such a block at top-level.
4266 @subsubsection Header
4268 @cindex @code{\header}
4271 A header describes bibliographic information of the file's contents. It
4272 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4273 use this information for generating titles. Key values that are used by
4274 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4275 metre, arranger, piece and tagline.
4277 @cindex @code{ly2dvi}
4281 \header @{ @var{key1} = @var{val1}
4282 @var{key2} = @var{val2} @dots{} @}
4285 It is customary to put the @code{\header} at the top of the file.
4287 @subsubsection Default output
4289 A @code{\midi} or @code{\paper} block at top-level sets the default
4290 paper block for all scores that lack an explicit paper block.
4294 @subsection Identifiers
4297 All of the information in a LilyPond input file, is represented as a
4298 Scheme value. In addition to normal Scheme data types (such as pair,
4299 number, boolean, etc.), LilyPond has a number of specialized data types,
4306 @item Translator_def
4310 @item Music_output_def
4311 @item Moment (rational number)
4314 LilyPond also includes some transient object types. Objects of these
4315 types are built during a LilyPond run, and do not `exist' per se within
4316 your input file. These objects are created as a result of your input
4317 file, so you can include commands in the input to manipulate them,
4318 during a lilypond run.
4321 @item Grob: short for Graphical object. See @ref{Grobs}.
4322 @item Molecule: device-independent page output object,
4323 including dimensions. Produced by some Grob functions
4325 @item Translator: object that produces audio objects or Grobs. This is
4326 not yet user accessible.
4327 @item Font_metric: object representing a font. (See @ref{Font metrics})
4332 @node Music expressions
4333 @subsection Music expressions
4335 @cindex music expressions
4337 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4338 syllables are music expressions, and you can combine music expressions
4339 to form new ones, for example by enclosing a list of expressions in
4340 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4341 compound expression is formed out of the quarter note @code{c} and a
4342 quarter note @code{d}:
4345 \sequential @{ c4 d4 @}
4348 @cindex Sequential music
4349 @cindex @code{\sequential}
4350 @cindex sequential music
4353 @cindex Simultaneous music
4354 @cindex @code{\simultaneous}
4356 The two basic compound music expressions are simultaneous and
4360 \sequential @code{@{} @var{musicexprlist} @code{@}}
4361 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4363 For both, there is a shorthand:
4365 @code{@{} @var{musicexprlist} @code{@}}
4369 @code{<} @var{musicexprlist} @code{>}
4371 for simultaneous music.
4372 In principle, the way in which you nest sequential and simultaneous to
4373 produce music is not relevant. In the following example, three chords
4374 are expressed in two different ways:
4376 @lilypond[fragment,verbatim,center]
4377 \notes \context Voice {
4378 <a c'> <b d' > <c' e'>
4379 < { a b c' } { c' d' e' } >
4384 Other compound music expressions include
4387 \transpose @var{pitch} @var{expr}
4388 \apply @var{func} @var{expr}
4389 \context @var{type} = @var{id} @var{expr}
4390 \times @var{fraction} @var{expr}
4394 @c . {Manipulating music expressions}
4395 @node Manipulating music expressions
4396 @subsection Manipulating music expressions
4398 The @code{\apply} mechanism gives you access to the internal
4399 representation of music. You can write Scheme-functions that operate
4400 directly on it. The syntax is
4402 \apply #@var{func} @var{music}
4404 This means that @var{func} is applied to @var{music}. The function
4405 @var{func} should return a music expression.
4407 This example replaces the text string of a script. It also shows a dump
4408 of the music it processes, which is useful if you want to know more
4409 about how music is stored.
4411 @lilypond[verbatim,singleline]
4412 #(define (testfunc x)
4413 (if (equal? (ly-get-mus-property x 'text) "foo")
4414 (ly-set-mus-property x 'text "bar"))
4416 (ly-set-mus-property x 'elements
4417 (map testfunc (ly-get-mus-property x 'elements)))
4422 \apply #testfunc { c'4_"foo" }
4426 For more information on what is possible, see the automatically
4427 generated documentation.
4430 Directly accessing internal representations is dangerous: the
4431 implementation is subject to changes, so you should avoid this feature
4434 A final example is a function that reverses a piece of music in time:
4436 @lilypond[verbatim,singleline]
4437 #(define (reverse-music music)
4438 (let* ((elements (ly-get-mus-property music 'elements))
4439 (reversed (reverse elements))
4440 (span-dir (ly-get-mus-property music 'span-direction)))
4441 (ly-set-mus-property music 'elements reversed)
4443 (ly-set-mus-property music 'span-direction (- span-dir)))
4444 (map reverse-music reversed)
4447 music = \notes { c'4 d'4( e'4 f'4 }
4449 \score { \context Voice {
4451 \apply #reverse-music \music
4456 More examples are given in the distributed example files in
4459 @c . {Span requests}
4465 @subsubsection Span requests
4466 @cindex Span requests
4468 Notational constructs that start and end on different notes can be
4469 entered using span requests. The syntax is as follows:
4473 \spanrequest @var{startstop} @var{type}
4477 @cindex @code{\start}
4478 @cindex @code{\stop}
4480 This defines a spanning request. The @var{startstop} parameter is either
4481 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4482 describes what should be started. Much of the syntactic sugar is a
4483 shorthand for @code{\spanrequest}, for example,
4485 @lilypond[fragment,verbatim,center]
4486 c'4-\spanrequest \start "slur"
4487 c'4-\spanrequest \stop "slur"
4490 Among the supported types are @code{crescendo}, @code{decrescendo},
4491 @code{beam}, @code{slur}. This is an internal command. Users are
4492 encouraged to use the shorthands which are defined in the initialization
4493 file @file{spanners.ly}.
4498 @subsection Assignments
4501 Identifiers allow objects to be assigned to names during the parse
4502 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4503 and to refer to an identifier, you precede its name with a backslash:
4504 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4505 the input-types listed above. Identifier assignments can appear at top
4506 level in the LilyPond file, but also in @code{\paper} blocks.
4508 An identifier can be created with any string for its name, but you will
4509 only be able to refer to identifiers whose names begin with a letter,
4510 being entirely alphabetical. It is impossible to refer to an identifier
4511 whose name is the same as the name of a keyword.
4513 The right hand side of an identifier assignment is parsed completely
4514 before the assignment is done, so it is allowed to redefine an
4515 identifier in terms of its old value, e.g.
4521 When an identifier is referenced, the information it points to is
4522 copied. For this reason, an identifier reference must always be the
4523 first item in a block.
4527 \paperIdent % wrong and invalid
4531 \paperIdent % correct
4536 @c . {Lexical modes}
4538 @subsection Lexical modes
4539 @cindex Lexical modes
4542 @cindex @code{\notes}
4543 @cindex @code{\chords}
4544 @cindex @code{\lyrics}
4546 To simplify entering notes, lyrics, and chords, LilyPond has three
4547 special input modes on top of the default mode: note, lyrics and chords
4548 mode. These input modes change the way that normal, unquoted words are
4549 interpreted: for example, the word @code{cis} may be interpreted as a
4550 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4553 A mode switch is entered as a compound music expressions
4555 @code{\notes} @var{musicexpr}
4556 @code{\chords} @var{musicexpr}
4557 @code{\lyrics} @var{musicexpr}.
4560 In each of these cases, these expressions do not add anything to the
4561 meaning of their arguments. They just instruct the parser in what mode
4562 to parse their arguments. The modes are treated in more detail in
4563 @ref{Lyrics} and @ref{Chords}.
4565 Different input modes may be nested.
4569 @subsection Ambiguities
4574 The grammar contains a number of ambiguities. We hope to resolve them at
4578 @item The assignment
4583 is interpreted as the string identifier assignment. However,
4584 it can also be interpreted as making a string identifier @code{\foo}
4585 containing @code{"bar"}, or a music identifier @code{\foo}
4586 containing the syllable `bar'.
4588 @item If you do a nested repeat like
4600 then it is ambiguous to which @code{\repeat} the
4601 @code{\alternative} belongs. This is the classic if-then-else
4602 dilemma. It may be solved by using braces.
4604 @item The parser is not sophisticated enough to distinguish at the
4606 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4613 @c . {Lexical details}
4614 @node Lexical details
4615 @section Lexical details
4617 Even more boring details, now on lexical side of the input parser.
4628 * Version information::
4633 @subsection Comments
4636 @cindex block comment
4637 @cindex line comment
4641 A one line comment is introduced by a @code{%} character.
4642 Block comments are started by @code{%@{} and ended by @code{%@}}.
4643 They cannot be nested.
4646 @subsection Direct Scheme
4650 @cindex Scheme, in-line code
4653 LilyPond contains a Scheme interpreter (the GUILE library) for
4654 internal use. In some places Scheme expressions also form valid syntax:
4655 wherever it is allowed,
4659 evaluates the specified Scheme code. Example:
4661 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4663 @code{\override} expects two Scheme expressions, so there are two Scheme
4664 expressions. The first one is a symbol (@code{foobar}), the second one
4665 an integer (namely, 3).
4667 In-line scheme may be used at top level. In this case the result is
4670 Scheme is a full-blown programming language, and a full discussion is
4671 outside the scope of this document. Interested readers are referred to
4672 the website @uref{http://www.schemers.org/} for more information on
4677 @subsection Keywords
4681 Keywords start with a backslash, followed by a number of lower case
4682 alphabetic characters. These are all the keywords.
4685 apply arpeggio autochange spanrequest commandspanrequest
4686 simultaneous sequential accepts alternative bar breathe
4687 char chordmodifiers chords clef cm consists consistsend
4688 context denies duration dynamicscript elementdescriptions
4689 font grace header in lyrics key mark pitch
4690 time times midi mm name pitchnames notes outputproperty
4691 override set revert partial paper penalty property pt
4692 relative remove repeat addlyrics partcombine score
4693 script stylesheet skip textscript tempo translator
4698 @subsection Integers
4706 Formed from an optional minus sign followed by digits. Arithmetic
4707 operations cannot be done with integers, and integers cannot be mixed
4712 @cindex real numbers
4718 Formed from an optional minus sign and a sequence of digits followed
4719 by a @emph{required} decimal point and an optional exponent such as
4720 @code{-1.2e3}. Reals can be built up using the usual operations:
4721 `@code{+}', `@code{-}', `@code{*}', and
4722 `@code{/}', with parentheses for grouping.
4730 A real constant can be followed by one of the dimension keywords:
4731 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4732 points, inches and centimeters, respectively. This converts the number
4733 a number that is the internal representation of that dimension.
4741 Begins and ends with the @code{"} character. To include a @code{"}
4742 character in a string write @code{\"}. Various other backslash
4743 sequences have special interpretations as in the C language. A string
4744 that contains no spaces can be written without the quotes. Strings can
4745 be concatenated with the @code{+} operator.
4749 @subsection Main input
4752 @cindex @code{\maininput}
4754 The @code{\maininput} command is used in init files to signal that the
4755 user file must be read. This command cannot be used in a user file.
4757 @node File inclusion
4758 @subsection File inclusion
4759 @cindex @code{\include}
4761 \include @var{filename}
4764 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4765 unquoted string will not work here!) or a string identifier. The full
4766 filename including the @file{.ly} extension must be given,
4769 @node Version information
4770 @subsection Version information
4771 @cindex @code{\version}
4773 \version @var{string}
4776 Specify the version of LilyPond that a file was written for. The
4777 argument is a version string in quotes, for example @code{"1.2.0"}.
4778 This is used to detect invalid input, and to aid
4779 @code{convert-ly} a tool that automatically upgrades input files. See
4780 See @ref{convert-ly} for more information on @code{convert-ly}.
4789 @c .{Local emacs vars}
4792 @c minor-mode: font-lock
4793 @c minor-mode: outline
4794 @c outline-layout: (-1 : 0)
4795 @c outline-use-mode-specific-leader: "@c \."
4796 @c outline-primary-bullet: "{"
4797 @c outline-stylish-prefixes: nil
4798 @c outline-override-protect: t