3 @c A menu is needed before every deeper *section nesting of @nodes
4 @c Run M-x texinfo-all-menus-update
5 @c to automagically fill in these menus
6 @c before saving changes
14 Rhythm staff (clef, x-notehead)
16 \addlyrics, \autochange, \partcombine: music (re)grouping
18 postscript, scheme output?
19 (links to?) using/existance of ly2dvi, lilypond-book
25 @node Reference Manual
26 @chapter Reference Manual
32 * Note specification::
49 describes the the GNU LilyPond input format This format represents a
50 piece of music in an elegant way, but contains enough information for
51 both automatic typesetting and automatic performances.
53 This document has been revised for LilyPond 1.3.125
57 There are two things to note here. The format contains musical
58 concepts like pitches and durations, instead of symbols and positions:
59 the input format tries to capture the meaning of @emph{music}, and not
60 notation. Second, the format tries to be @emph{context-free}:
61 a note will sound the same regardless of the current time signature,
64 The purpose of LilyPond is explained informally by the term `music
65 typesetter'. This is not a fully correct name: not only does the
66 program print musical symbols, it also makes esthetic decisions. All
67 symbols and their placement is @emph{generated} from a high-level musical
68 description. In other words, LilyPond would be best
69 described by `music compiler' or `music to notation compiler'.
71 LilyPond input can be classified into three types:
73 @item musical expressions: a musical expression is some combination of
75 @item output definitions: recipes for translating those musical
76 expressions into performances (MIDI) or graphics (eg. PostScript).
78 @item declarations: by declaring and naming musical expressions, you
79 can enter and edit them in manageable chunks.
83 @c. {Music constructs}
84 @node Music constructs
85 @section Music constructs
86 @cindex Music constructs
90 * Simultanious music::
91 * Compound music expressions::
93 * Explicit atomic music::
96 @c. {Music expressions}
97 @node Music expressions
98 @subsection Music expressions
100 @cindex music expressions
102 Music in LilyPond is entered as a music expression. Notes, rests,
103 lyric syllables are music expressions (the atomic
105 @cindex atomic music expressions
106 and you can combine music expressions to form new ones. This example
107 forms a compound expressions out of the quarter @code{c} note and a
111 \sequential @{ c4 d4 @}
114 The meaning of this compound expression is to play the @code{c}
115 first, and then the @code{d} (as opposed to playing them
116 simultaneously, for instance).
118 Atomic music expression are discussed in
119 subsection @ref{Atomic music expressions}. Compound music expressions are
120 discussed in subsection @ref{Compound music expressions}.
123 @c. {Sequential music}
124 @node Sequential music
125 @subsection Sequential music
126 @cindex Sequential music
127 @cindex @code{\sequential}
128 @cindex sequential music
131 \sequential @code{@{} @var{musicexprlist} @code{@}}
134 This means that list should be played or written in sequence, i.e.,
135 the second after the first, the third after the second. The duration
136 of sequential music is the the sum of the durations of the elements.
137 There is a shorthand, which leaves out the keyword:
143 @code{@{} @var{musicexprlist} @code{@}}
146 @c. {Simultanious music}
147 @node Simultanious music
148 @subsection Simultanious music
149 @cindex Simultanious music
150 @cindex @code{\simultaneous}
153 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
156 It constructs a music expression where all of its arguments start at
157 the same moment. The duration is the maximum of the durations of the
158 elements. The following shorthand is a common idiom:
161 @code{<} @var{musicexprlist} @code{>}
164 If you try to use a chord as the first thing in your score, you might
165 get multiple staffs instead of a chord.
167 @lilypond[verbatim,center]
176 This happens because the chord is interpreted by a score context.
177 Each time a note is encountered a default Voice context (along with a
178 Staff context) is created. The solution is to explicitly instantiate
181 @lilypond[verbatim,center]
183 \notes\context Voice <c''4 e''>
190 @c. {Compound music expressions}
191 @node Compound music expressions
192 @subsection Compound music expressions
194 @cindex Compound music expressions
196 Music expressions are compound data structures. You can nest music
197 expressions any way you like. This simple example shows how three
198 chords can be expressed in two different ways:
200 @lilypond[fragment,verbatim,center]
201 \notes \context Staff {
202 <a c'> <b d' > <c' e'>
203 < { a b c' } { c' d' e' } >
208 @cindex @code{\context}
209 @cindex context selection
212 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
215 Interpret @var{musicexpr} within a context of type @var{contexttype}.
216 If the context does not exist, it will be created. The new context
217 can optionally be given a name.
220 @c. {Grace music} <-> Grace notes
222 @subsection Grace music
224 @cindex @code{\grace}
227 @cindex @code{graceAlignPosition}
230 \grace @var{musicexpr}
233 A grace note expression has duration 0; the next real note is
234 assumed to be the main note.
236 You cannot have the grace note after the main note, in terms of
237 duration, and main notes, but you can typeset the grace notes to the
238 right of the main note using the property
239 @code{graceAlignPosition}.
240 @cindex @code{flagStyle}
242 When grace music is interpreted, a score-within-a-score is set up:
243 @var{musicexpr} has its own time bookkeeping, and you could (for
244 example) have a separate time signature within grace notes. While in
245 this score-within-a-score, you can create notes, beams, slurs, etc.
246 Unbeamed eighth notes and shorter by default have a slash through the
247 stem. This behavior can be controlled with the
248 @code{flagStyle} property.
251 @lilypond[fragment,verbatim]
253 \grace c8 c4 \grace { [c16 c16] } c4
254 \grace { \property Grace.flagStyle = "" c16 } c4
259 @cindex @code{\grace}
261 At present, nesting @code{\grace} notes is not supported. The following
262 may cause run-time errors:
264 @code{\grace @{ \grace c32 c16 @} c4}
266 Since the meaning of such a construct is unclear, we don't consider
267 this a loss. Similarly, juxtaposing two @code{\grace} sections is
268 syntactically valid, but makes no sense and may cause runtime errors.
270 Ending a staff or score with grace notes may also generate a run-time
271 error, since there will be no main note to attach the grace notes to.
273 The present implementation is not robust and generally kludgy. We expect
274 it to change after LilyPond 1.4
277 @c. {Explicit atomic music}
278 @node Explicit atomic music
279 @subsection Explicit atomic music
280 @cindex Explicit atomic music
285 The syntax for pitch specification is
287 @cindex @code{\pitch}
289 \pitch @var{scmpitch}
292 @var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
294 In Note and Chord mode, pitches may be designated by names. See
295 section @ref{Other languages} for pitch names in different languages.
298 @cindex @code{\duration}
300 The syntax for duration specification is
302 \duration @var{scmduration}
305 In Note, Chord, and Lyrics mode, durations may be designated by
311 @c. {Modifying music}
312 @node Modifying music
313 @section Modifying music
314 @cindex Modifying music
328 @cindex relative octave specification
330 It is easy to get confused by octave changing marks and accidentally
331 putting a pitch in the wrong octave. A much better way of entering a
332 note's octave is `the relative octave' mode.
334 @cindex @code{\relative}
336 \relative @var{startpitch} @var{musicexpr}
339 The octave of notes that appear in @var{musicexpr} are calculated as
340 follows: If no octave changing marks are used, the basic interval
341 between this and the last note is always taken to be a fourth or
342 less.@footnote{The interval is determined without regarding
343 accidentals. A @code{fisis} following a @code{ceses} will be put above
344 the @code{ceses}.} The octave changing marks @code{'} and @code{,}
345 can then be added to raise or lower the pitch by an extra octave.
346 Upon entering relative mode, an absolute starting pitch must be
347 specified that will act as the predecessor of the first note of
350 Entering scales is straightforward in relative mode.
352 @lilypond[fragment,verbatim,center]
358 And octave changing marks are used for intervals greater than a fourth.
360 @lilypond[fragment,verbatim,center]
365 If the preceding item is a chord, the first note of the chord is used
366 to determine the first note of the next chord. But other notes
367 within the second chord are determined by looking at the immediately
370 @lilypond[fragment,verbatim,center]
377 @cindex @code{\notes}
379 The pitch after the @code{\relative} contains a notename. To parse
380 the pitch as a notename, you have to be in note mode, so there must
381 be a surrounding @code{\notes} keyword (which is not
384 The relative conversion will not affect @code{\transpose} or
385 @code{\relative} sections in its argument. If you want to use
386 relative within transposed music, you must place an additional
387 @code{\relative} inside the @code{\transpose}.
389 It is strongly recommended to use relative pitch mode: less work,
390 less error-prone, and more readable.
394 @subsection Transpose
396 @cindex transposition of pitches
397 @cindex @code{\transpose}
399 A music expression can be transposed with @code{\transpose}. The syntax
402 \transpose @var{pitch} @var{musicexpr}
405 This means that middle C in @var{musicexpr} is transposed to
408 @code{\transpose} distinguishes between enharmonic pitches: both
409 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
410 a tone. The first version will print sharps and the second version
414 @lilypond[fragment,verbatim]
417 { \key e \major; c d e f }
419 \transpose des'' { \key e \major; c d e f }
420 \transpose cis'' { \key e \major; c d e f }
426 If you want to use both @code{\transpose} and @code{\relative}, then
427 you must use @code{\transpose} first. @code{\relative} will have no
428 effect music that appears inside a @code{\transpose}.
437 [TODO: document #'repeatCommands.]
439 @cindex @code{\repeat}
441 In order to specify repeats, use the @code{\repeat}
442 keyword. Since repeats look and sound differently when played or
443 printed, there are a few different variants of repeats.
447 Repeated music is fully written (played) out. Useful for MIDI
451 This is the normal notation: Repeats are not written out, but
452 alternative endings (voltas) are printed, left to right.
455 Alternative endings are written stacked. Which is unfortunately not
456 practical for anything right now.
462 The syntax for repeats is
465 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
468 If you have alternative endings, you may add
470 @cindex @code{\alternative}
472 \alternative @code{@{} @var{alternative1}
474 @var{alternative3} @dots{} @code{@}}
477 where each @var{alternative} is a Music expression.
479 Normal notation repeats are used like this:
483 @lilypond[fragment,verbatim]
485 \repeat volta 2 { c'4 d' e' f' }
486 \repeat volta 2 { f' e' d' c' }
491 With alternative endings:
495 @lilypond[fragment,verbatim]
497 \repeat volta 2 {c'4 d' e' f'}
498 \alternative { {d'2 d'} {f' f} }
503 Folded repeats look like this:@footnote{Folded repeats offer little
504 more over simultaneous music. However, it is to be expected that
505 more functionality -- especially for the MIDI backend -- will be
510 @lilypond[fragment,verbatim]
512 \repeat fold 2 {c'4 d' e' f'}
513 \alternative { {d'2 d'} {f' f} }
520 @lilypond[fragment,verbatim]
524 \repeat volta 2 { e | c2 d2 | e2 f2 | }
525 \alternative { { g4 g g } { a | a a a a | b1 } }
532 If you don't give enough alternatives for all of the repeats, then
533 the first alternative is assumed to be repeated often enough to equal
534 the specified number of repeats.
537 @lilypond[fragment,verbatim]
540 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
541 \alternative { { g4 g g }
542 {\partial 1; e4 e e }
543 {\partial 1; a a a a | b1 } }
549 As you can see, LilyPond doesn't remember the timing information, nor
550 are slurs or ties repeated. We hope to fix this after 1.4.
552 It is possible to nest @code{\repeat}. This is not entirely
553 supported: the notes will come be in the right places, but the repeat
556 To place tremolo marks between notes, use @code{\repeat} with tremolo
558 @cindex tremolo beams
559 To create tremolo beams on a single note, simply attach
560 `@code{:}@var{length}' to the note itself.
562 @lilypond[verbatim,center]
564 \context Voice \notes\relative c' {
565 \repeat "tremolo" 8 { c16 d16 }
566 \repeat "tremolo" 4 { c16 d16 }
567 \repeat "tremolo" 2 { c16 d16 }
570 linewidth = 40*\staffspace;
576 @lilypond[fragment,verbatim,center]
586 Tuplets are made out of a music expression by multiplying their
587 duration with a fraction.
589 @cindex @code{\times}
591 \times @var{fraction} @var{musicexpr}
594 The duration of @var{musicexpr} will be multiplied by the fraction.
595 In print, the fraction's denominator will be printed over the notes,
596 optionally with a bracket. The most common tuplet is the triplet in
597 which 3 notes have the length of 2, so the notes are 2/3 of
598 their written length:
600 @lilypond[fragment,verbatim,center]
601 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
609 Apply allows a Scheme-function to operate directly on the internal
610 representation of music.
612 \apply #@var{func} @var{music}
614 The function takes two arguments, being a function and an musical
615 argument for that function. The function should return a music
618 This example replaces the text string of a script. It also shows a dump
619 of the music it processes.
621 #(define (testfunc x)
622 (if (eq? (ly-get-mus-property x 'text) "foo")
623 (ly-set-mus-property x 'text "bar"))
625 (ly-set-mus-property x 'elements
626 (map testfunc (ly-get-mus-property x 'elements)))
631 \apply #testfunc { c4_"foo" }
635 For more information on what is possible, see the @ref{Tricks} and the
636 automatically generated documentation.
640 @subsection Transform
656 @subsection Notes mode
660 @cindex @code{\notes}
661 Note mode is introduced by the keyword
662 @code{\notes}. In Note mode, words can only
663 contain alphabetic characters. If @code{word} is encountered,
664 LilyPond first checks for a notename of @code{word}. If no
665 notename is found, then @code{word} is treated as a string.
667 Since combinations of numbers and dots are used for indicating
668 durations, it is not possible to enter real numbers in this mode.
675 @subsection Pitch names
677 @node Note specification
678 @section Note specification
679 @cindex Note specification
682 @cindex entering notes
684 A note specification has the form
687 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
690 The pitch of the note is specified by the note's name.
693 The default names are the Dutch note names. The notes are specified
694 by the letters @code{c} through @code{b}, where @code{c} is an
695 octave below middle C and the letters span the octave above that C.
697 @cindex note names, Dutch
698 a sharp is formed by adding @code{-is} to the end of a pitch name. A
699 flat is formed by adding @code{-es}. Double sharps and double flats are
700 obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
701 @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
702 forms will be accepted.
704 LilyPond has predefined sets of notenames for various other languages.
705 To use them, simply include the language specific init file. For
706 example: @code{\include "english.ly"}. The available language files and
707 the names they define are:
710 Note Names sharp flat
711 nederlands.ly c d e f g a bes b -is -es
712 english.ly c d e f g a bf b -s/-sharp -f/-flat
713 deutsch.ly c d e f g a b h -is -es
714 norsk.ly c d e f g a b h -iss/-is -ess/-es
715 svenska.ly c d e f g a b h -iss -ess
716 italiano.ly do re mi fa sol la sib si -d -b
717 catalan.ly do re mi fa sol la sib si -d/-s -b
722 Pitch names can be redefined using the @code{\pitchnames} command, see
728 The optional octave specification takes the form of a series of
729 single quote (`@code{'}') characters or a series of comma
730 (`@code{,}') characters. Each @code{'} raises the pitch by one
731 octave; each @code{,} lowers the pitch by an octave.
733 @lilypond[fragment,verbatim,center]
734 c' d' e' f' g' a' b' c''
737 @lilypond[fragment,verbatim,center]
738 cis' dis' eis' fis' gis' ais' bis'
741 @lilypond[fragment,verbatim,center]
742 ces' des' es' fes' ges' as' bes'
745 @lilypond[fragment,verbatim,center]
746 cisis' eisis' gisis' aisis' beses'
749 @lilypond[fragment,verbatim,center]
750 ceses' eses' geses' ases' beses'
753 LilyPond will determine what accidentals to typeset depending on the key
754 and context, so alteration refer to what note is heard, not to whether
755 accidentals are printed. A reminder accidental
756 @cindex reminder accidental
758 can be forced by adding an exclamation mark @code{!} after the pitch.
759 A cautionary accidental,
760 @cindex cautionary accidental
762 i.e., an accidental within parentheses can be obtained by adding the
763 question mark `@code{?}' after the pitch.
765 @lilypond[fragment,verbatim,center]
766 cis' d' e' cis' c'? d' e' c'!
774 * Multi measure rests::
782 Rests are entered like notes, with note name `@code{r}'.
783 There is also a note name
784 `@code{s}', which produces a space of the specified
790 @subsection Durations
793 Durations are entered as their reciprocal values. For notes longer
794 than a whole note, use identifiers.
800 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
802 r1 r2 r4 r8 r16 r32 r64 r64
808 \notes \relative c'' {
809 a\longa a\breve \autoBeamOff
810 a1 a2 a4 a8 a16 a32 a64 a64
812 r1 r2 r4 r8 r16 r32 r64 r64
817 \remove "Clef_engraver";
818 \remove "Staff_symbol_engraver";
819 \remove "Time_signature_engraver";
820 \consists "Pitch_squash_engraver";
827 As you can see, the longa is not printed. To get a longa note head, you
828 have to use a different style of note heads. See [TODO].
833 If the duration is omitted then it is set equal to the previous duration
834 entered. At the start of parsing there is no previous duration, so then
835 a quarter note is assumed. The duration can be followed by a dot
836 (`@code{.}') to obtain dotted note lengths.
840 @lilypond[fragment,verbatim,center]
846 You can alter the length of duration by writing `@code{*}@var{fraction}'
847 after it. This will not affect the appearance of note heads or rests.
849 @c. {Multi measure rests}
850 @node Multi measure rests
851 @subsection Multi measure rests
852 @cindex Multi measure rests
856 Multi_measure_rest are entered using `@code{R}'. It is specifically
857 meant for entering parts: the rest can expand to fill a score with
858 rests, or it can be printed as a single multimeasure rest This expansion
859 is controlled by the property @code{Score.skipBars}. If this is set to true,
860 Lily will not expand empty measures, and the multimeasure rests
861 automatically adds the appropriate number.
864 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
867 Note that there is currently no way to condense multiple rests into a
868 single multimeasure rest.
877 \skip @var{duration} @code{;}
881 Skips the amount of time specified by @var{duration}. If no other
882 music is played, a gap will be left for the skipped time with no
883 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
884 this has the same effect as the spacer rest.
892 @section Music notation
893 @cindex Music notation
911 @code{\key} @var{pitch} @var{type} @code{;}
913 @cindex @code{\minor}
914 @cindex @code{\major}
915 @cindex @code{\minor}
916 @cindex @code{\ionian}
917 @cindex @code{\locrian}
918 @cindex @code{\aeolian}
919 @cindex @code{\mixolydian}
920 @cindex @code{\lydian}
921 @cindex @code{\phrygian}
922 @cindex @code{\dorian}
924 Change the key signature. @var{type} should be @code{\major} or
925 @code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
926 respectively. The second argument is optional; the default is major
927 keys. The @var{\context} argument can also be given as an integer,
928 which tells the number of semitones that should be added to the pitch
929 given in the subsequent @code{\key} commands to get the corresponding
930 major key, e.g., @code{\minor} is defined as 3. The standard mode names
931 @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
932 @code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
942 @subsubsection Clef changes
945 \clef @var{clefname} @code{;}
951 \property Clef.clefGlyph = @var{symbol associated with clefname}
952 \property Clef.clefPosition = @var{clef Y-position for clefname}
953 \property Clef.clefOctavation = @var{extra pitch of clefname}
956 Supported clef-names include
963 @subsection Time signature
964 @cindex Time signature
969 \time @var{numerator}@code{/}@var{denominator} @code{;}
972 A short-cut for doing
974 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
977 See the documentation of @code{timeSignatureFraction}
981 @subsubsection Partial
985 @cindex partial measure
986 @cindex measure, partial
987 @cindex shorten measures
988 @cindex @code{\partial}
990 \partial @var{duration} @code{;}
996 \property Score.measurePosition = @var{length of duration}
1000 See the documentation of @code{measurePosition}.
1006 @subsection Spanners
1015 * Crescendo and Decrescendo::
1026 @c. {Automatic beams}
1027 @unnumberedsubsubsec Automatic beams
1029 @cindex automatic beam generation
1032 @cindex @code{Voice.noAutoBeaming}
1034 LilyPond will group flagged notes and generate beams autmatically, where
1035 appropriate. This feature can be disabled by setting the
1036 @code{Voice.noAutoBeaming} property to true, which you may find
1037 necessary for the melody that goes with lyrics, eg. Automatic beaming
1038 can easily be overridden for specific cases by specifying explicit
1039 beams, see @ref{Manual beams}.
1041 @cindex @code{Voice.autoBeamSettings}
1042 @cindex @code{(end * * * *)}
1043 @cindex @code{(begin * * * *)}
1045 A large number of Voice properties are used to decide how to generate
1046 beams. Their default values appear in @file{scm/auto-beam.scm}. In
1047 general, beams can begin anywhere, but their ending location is
1048 significant. Beams can end on a beat, or at durations specified by the
1049 properties in @code{Voice.autoBeamSettings}. To end beams every quarter
1050 note, for example, you could set the property @code{(end * * * *)} to
1051 @code{(make-moment 1 4)}. To end beams at every three eighth notes you
1052 would set it to @code{(make-moment 1 8)}. The same syntax can be used
1053 to specify beam starting points using @code{(begin * * * *)}, eg:
1056 \property Voice.autoBeamSettings \override
1057 #'(end * * * *) = #(make-moment 1 4)
1058 \property Voice.autoBeamSettings \override
1059 #'(begin * * * *) = #(make-moment 1 8)
1063 To allow different settings for different time signatures, instead of
1064 the first two asterisks @code{* *} you can specify a time signature; use
1065 @code{(end N M * *)} to restrict the definition to
1066 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
1067 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
1069 To allow different endings for notes of different durations, instead of
1070 th last two asterisks you can specify a duration; use @code{(end * * N
1071 M)} to restrict the definition to beams that contain notes of
1072 `@var{N}@code{/}@var{M}' duration.
1074 For example, to specify beam endings for beams that contain 32nd notes,
1075 you would use @code{(end * * 1 32)}.
1080 @cindex Automatic beams
1081 @unnumberedsubsubsec Manual beams
1082 @cindex beams, manual
1086 For most situations, beaming can be generated automatically; see section
1087 @ref{Automatic Beaming}. In certain cases it may be necessary to
1088 override the automatic beaming decisions that LilyPond makes. You can
1089 do this by specifying beams explicitely.
1091 A manual beam is specified by surrounding the notes that should make up
1092 the beam, with brackets `@code{[}' and `@code{]}'.
1094 FIXME: example. (or tell: why would the auto-beamer fail here?)
1096 @lilypond[fragment,verbatim,center]
1097 [a'8 a'] [a'16 a' a' a']
1098 [a'16 <a' c''> c'' <a' c''>]
1099 \times 2/3 { [e'8 f' g'] }
1104 @c. {Adjusting beams}
1105 @unnumberedsubsubsec Adjusting beams
1106 @cindex Adjusting beams
1118 Slurs connects chords and try to avoid crossing stems. A slur is
1119 started with @code{(} and stopped with @code{)}. The
1120 starting @code{(} appears to the right of the first note in
1121 the slur. The terminal @code{)} appears to the left of the
1122 first note in the slur. This makes it possible to put a note in
1123 slurs from both sides:
1125 @lilypond[fragment,verbatim,center]
1126 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1131 @c. {Adjusting slurs}
1132 @unnumberedsubsubsec Adjusting slurs
1134 @cindex Adusting slurs
1142 A tie connects two adjacent note heads of the same pitch. When used
1143 with chords, it connects all of the note heads whose pitches match.
1144 Ties are indicated using the tilde symbol `@code{~}'.
1145 If you try to tie together chords which have no common pitches, a
1146 warning message will appear and no ties will be created.
1148 @lilypond[fragment,verbatim,center]
1149 e' ~ e' <c' e' g'> ~ <c' e' g'>
1157 @subsubsection Tuplet
1164 @subsubsection Volta
1169 @c. {Crescendo and Decrescendo}
1170 @node Crescendo and Decrescendo
1171 @subsubsection Crescendo and Decrescendo
1172 @cindex Crescendo and Decrescendo
1176 @cindex @code{\decr}
1177 @cindex @code{\rced}
1184 A crescendo mark is started with @code{\cr} and terminated with
1185 @code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
1186 started with @code{\decr} and terminated with @code{\rced}. There are
1187 also shorthands for these marks. A crescendo can be started with
1188 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1189 can be terminated with @code{\!}. Note that @code{\!} must go before
1190 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1191 after the last note. Because these marks are bound to notes, if you
1192 want to get several marks during one note, you must use spacer notes.
1194 @lilypond[fragment,verbatim,center]
1195 c'' \< \! c'' d'' \decr e'' \rced
1196 < f''1 { s4 \< \! s2 \> \! s4 } >
1204 @subsubsection Text spanner
1205 @cindex Text spanner
1207 Have crescendo set a text spanner instead of hairpin
1209 @lilypond[fragment,relative,verbatim]
1211 \property Voice.crescendoText = "cresc."
1212 \property Voice.crescendoSpanner = #'dashed-line
1219 @subsubsection Ottava
1221 @unnumberedsubsubsec Ottava
1223 @lilypond[fragment,relative,verbatim]
1225 \property Voice.TextSpanner \set #'type = #'dotted-line
1226 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1227 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1228 \property Staff.centralCPosition = #-13
1229 a\spanrequest \start "text" b c a \spanrequest \stop "text"
1234 @c. {Text crescendo and decrescendo}
1235 @unnumberedsubsubsec Text crescendo and decrescendo
1241 @subsubsection Span requests
1242 @cindex Span requests
1244 @cindex @code{\spanrequest}
1247 \spanrequest @var{startstop} @var{type}
1249 @cindex @code{\start}
1250 @cindex @code{\stop}
1252 Define a spanning request. The @var{startstop} parameter is either -1
1253 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
1254 describes what should be started. Supported types are @code{crescendo},
1255 @code{decrescendo}, @code{beam}, @code{slur}. This is an internal
1256 command. Users should use the shorthands which are defined in the
1257 initialization file @file{spanners.ly}.
1259 You can attach a (general) span request to a note using
1261 @lilypond[fragment,verbatim,center]
1262 c'4-\spanrequest \start "slur"
1263 c'4-\spanrequest \stop "slur"
1266 The slur syntax with parentheses is a shorthand for this.
1271 @subsection Ornaments
1288 @subsubsection Articulation
1289 @cindex Articulation
1291 @cindex articulations
1295 A variety of symbols can appear above and below notes to indicate
1296 different characteristics of the performance. These symbols can be
1297 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1298 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1299 forced to appear above or below the note by writing
1300 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1301 respectively. Here is a chart showing symbols above notes, with the
1302 name of the corresponding symbol appearing underneath.
1308 \property Score.LyricSyllable \override #'font-family =
1310 \property Score.LyricSyllable \override #'font-shape = #'upright
1311 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1312 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1313 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1314 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1315 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1316 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1317 c''-\thumb c''-\segno c''-\coda
1319 \context Lyrics \lyrics {
1320 accent__ marcato__ staccatissimo__ fermata
1321 stopped__ staccato__ tenuto__ upbow
1322 downbow__ lheel__ rheel__ ltoe
1323 rtoe__ turn__ open__ flageolet
1324 reverseturn__ trill__ prall__ mordent
1325 prallprall__ prallmordent__ uprall__ downprall
1326 thumb__ segno__ coda
1330 linewidth = 5.875\in;
1339 @subsubsection Text scripts
1340 @cindex Text scripts
1344 In addition, it is possible to place arbitrary strings of text or
1345 @TeX{} above or below notes by using a string instead of an
1346 identifier: @code{c^"text"}. Fingerings
1347 can be placed by simply using digits. All of these note ornaments
1348 appear in the printed output but have no effect on the MIDI rendering of
1352 @unnumberedsubsubsec Fingerings
1355 To save typing, fingering instructions (digits 0 to 9 are
1356 supported) and single characters shorthands exist for a few
1361 \notes \context Voice {
1362 \property Voice.TextScript \set #'font-family = #'typewriter
1363 \property Voice.TextScript \set #'font-shape = #'upright
1369 c''4-^_"c-\\^{ }" s4
1376 linewidth = 5.875 \in;
1384 @cindex @code{\textscript}
1388 \textscript @var{text} @var{style}
1391 Defines a text to be printed over or under a note. @var{style} is a
1392 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1393 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1395 You can attach a general textscript request using this syntax:
1400 c4-\textscript "6" "finger"
1401 c4-\textscript "foo" "normal"
1406 This is equivalent to @code{c4-6 c4-"foo"}.
1408 @cindex @code{\script}
1415 @cindex @code{\script}
1417 Prints a symbol above or below a note. The argument is a string which
1418 points into the script-alias table defined in @file{scm/script.scm}, for
1419 information on how to add scripts, read the comments in that file.
1420 Usually the @code{\script} keyword is not used directly. Various
1421 helpful identifier definitions appear in @file{script.ly}.
1428 @subsubsection Grace notes
1431 See @ref{Grace music}.
1435 @subsubsection Stem tremolo
1436 @cindex tremolo marks
1437 @cindex @code{tremoloFlags}
1439 [FIXME: should be \repeat]
1441 Tremolo marks can be printed on a single note by adding
1442 `@code{:}[@var{length}]' after the note. The length must be at
1443 least 8. A @var{length} value of 8 gives one line across
1444 the note stem. If the length is omitted, then the last value is
1445 used, or the value of the @code{tremoloFlags} property if there was
1448 @lilypond[verbatim,fragment,center]
1455 @subsubsection Arpeggio
1458 @cindex broken arpeggio
1459 @cindex @code{\arpeggio}
1461 You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
1464 @code{\arpeggio} request:
1468 @lilypond[fragment,relative,verbatim]
1469 \context Voice <c'\arpeggio e g c>
1473 Typesetting of simultanious chords with arpeggios can be controlled with
1474 the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
1475 connectArpeggios. Can't find the English terms for two kinds of
1476 arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
1477 default, LilyPond prints broken arpeggios; when set to true, one
1478 extended arpeggio sign is printed.
1481 @lilypond[fragment,relative,verbatim]
1482 \context PianoStaff <
1483 \property PianoStaff.connectArpeggios = ##t
1484 \context Staff \context Voice <c''\arpeggio e g c>
1485 \context Staff=other \context Voice <c,\arpeggio e g>
1493 @subsubsection Glissando
1496 @cindex @code{\glissando}
1498 A @rgrob{Glissando} line can be requested by issuing a
1501 @code{\glissando} request:
1505 @lilypond[fragment,relative,verbatim]
1510 Printing of the additional text @samp{gliss.} must be done manually.
1514 @subsubsection Follow Thread
1515 @cindex follow thread
1516 @cindex staff switching
1519 @c Documented here because it looks like a glissando...
1520 @cindex @code{followThread}
1521 A glissando-like line can be printed to connect notes whenever a thread
1522 switches to another staff. This is enabled if the property
1523 @code{PianoStaff.followThread} is set to true:
1526 @lilypond[fragment,relative,verbatim]
1527 \context PianoStaff <
1528 \property PianoStaff.followThread = ##t
1529 \context Staff \context Voice {
1531 \translator Staff=two
1534 \context Staff=two {\clef bass; \skip 1*2;}
1543 @subsubsection Dynamics
1546 @unnumberedsubsec Dynamics
1556 @cindex @code{\ffff}
1565 Dynamic marks are specified by using an identifier after a note:
1566 @code{c4-\ff} (the dash is optional for dynamics: `@code{c4 \ff})'.
1567 The available dynamic marks are:
1569 @code{\pp}, @code{\p}, @code{\mp},
1570 @code{\mf}, @code{\f}, @code{\ff},
1571 @code{\fff}, @code{\fff},
1572 @code{\fp}, @code{\sf},
1573 @code{\sff}, @code{\sp},
1574 @code{\spp}, @code{\sfz}, and
1577 See also @ref{Crescendo and Decrescendo}
1582 @subsubsection Bar lines
1586 @cindex measure lines
1593 This is a short-cut for doing
1595 \property Score.whichBar = @var{bartype}
1598 You are encouraged to use @code{\repeat} for repetitions. See
1599 @ref{Repeat}, @ref{Volta}, and the documentation of @code{whichBar} in
1600 @ref{(lilypond-internals)LilyPond context properties}.
1607 @subsubsection Breath marks
1608 @cindex Breath marks
1610 @c. {Rehearsal marks}
1611 @node Rehearsal marks
1612 @subsubsection Rehearsal marks
1613 @cindex Rehearsal marks
1615 @cindex @code{\mark}
1618 \mark @var{unsigned};
1619 @cindex @code{Mark_engraver}
1623 Prints a mark over or under the staff.
1628 @subsection Bar check
1632 @cindex @code{barCheckNoSynchronize}
1636 Bar checks help you find errors in the input: Whenever one is
1637 encountered during interpretation, a warning message is issued if it
1638 doesn't fall at a measure boundary. Depending on the value of
1639 @code{barCheckNoSynchronize}, the beginning of the measure will be
1640 relocated, so this can also be used to shorten measures.
1642 A bar check is entered using the bar symbol, @code{|}
1644 This can help you finding errors in the input.
1649 @section Lyrics entry
1650 @cindex Lyrics entry
1662 @subsection Lyrics mode
1666 @cindex @code{\lyrics}
1668 Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
1669 rules that make it easy to include punctuation and diacritical marks in
1670 words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
1671 format or a standard encoding without needing quotes. The precise
1672 definition of this mode is ludicrous, and this will remain so until the
1673 authors of LilyPond acquire a deeper understanding of character
1674 encoding, or someone else steps up to fix this.
1676 A word in Lyrics mode begins with: an alphabetic character, @code{_},
1677 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
1678 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
1679 any 8-bit character with ASCII code over 127, or a two-character
1680 combination of a backslash followed by one of @code{`}, @code{'},
1681 @code{"}, or @code{^}.
1683 Subsequent characters of a word can be any character that is not a digit
1684 and not white space. One important consequence of this is that a word
1685 can end with `@code{@}}', which may be confusing. However, LilyPond will
1686 issue a warning. Any @code{_} character which appears in an unquoted
1687 word is converted to a space. This provides a mechanism for introducing
1688 spaces into words without using quotes. Quoted words can also be used
1689 in Lyrics mode to specify words that cannot be written with the above
1690 rules. Here are some examples. Not all of these words are printable by
1695 2B_||_!2B % not a word because it starts with a digit
1696 ``Hello'' % not a word because it starts with `
1697 _ _ _ _ % 4 words, each one a space
1700 Since combinations of numbers and dots are used for indicating
1701 durations, you can not enter real numbers in this mode.
1703 [todo: include short table showing differences]
1705 @cindex lyrics expressions
1707 Syllables are entered like notes, with pitches replaced by text. For
1708 example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
1709 with quarter note duration. Note that the hyphen has no special
1710 meaning for lyrics, and does not introduce special symbols. See
1711 section @ref{Lexical modes} for a description of what is interpreted as
1714 Spaces can be introduced into a lyric either by using quotes
1715 (@code{"}) or by using an underscore without quotes: @code{He_could4
1716 not4}. All unquoted underscores are converted to spaces. Printing
1717 lyrics is discussed in section @ref{lyricprint}.
1720 @c. {Printing Lyrics}
1721 @node Printing lyrics
1722 @subsection lyricprint
1726 @cindex printing!lyrics
1729 Lyric syllables must be interpreted within a @code{Lyrics} context
1731 @cindex context!Lyrics
1734 Here is a full example:
1740 \notes \transpose c'' {
1742 e f g2 | e4 f g2 \bar "|.";
1744 \context Lyrics \lyrics {
1745 Va-4 der Ja- cob Va- der Ja- cob
1746 Slaapt gij nog?2 Slaapt4 gij nog?2
1754 You may want a continuous line after the syllables to show melismata.
1755 To achieve this effect, add a @code{__} lyric as a separate word
1756 after the lyric to be extended. This will create an extender, a line
1757 that extends over the entire duration of the lyric. This line will
1758 run all the way to the start of the next lyric, so you may want to
1759 shorten it by using a blank lyric (using @code{_}).
1766 \notes \relative c'' {
1767 a4 () b () c () d | c () d () b () a | c () d () b () a
1769 \context Lyrics \lyrics {
1770 foo1 __ | bar2. __ _4 | baz1 __
1779 If you want to have hyphens centered between syllables (rather than
1780 attached to the end of the first syllable) you can use the special
1781 `@code{-}@code{-}' lyric as a separate word between syllables. This
1782 will result in a hyphen which length varies depending on the space
1783 between syllables, and which will be centered between the syllables.
1791 \notes \transpose c'' {
1793 e f g2 | e4 f g2 \bar "|.";
1795 \context Lyrics \lyrics {
1796 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
1797 Slaapt gij nog?2 | Slaapt4 gij nog?2
1810 @subsection Lyric hyphen
1811 @cindex Lyric hyphen
1813 The syntax for a spanning hyphen (i.e., a hyphen that will be printed
1814 between two lyric syllables) is `@code{-}@code{-}'.
1816 @c. {Lyric extender}
1817 @node Lyric extender
1818 @subsection Lyric extender
1819 @cindex Lyric extender
1821 @cindex lyric extender
1824 The syntax for an extender mark is @code{__}. This syntax can only
1825 be used within lyrics mode.
1832 @subsection Addlyrics
1836 [explain automatic phrasing]
1837 @cindex automatic lyric durations
1838 @cindex @code{\addlyrics}
1840 If you have lyrics that are set to a melody, you can import the rhythm
1841 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1844 \addlyrics @var{musicexpr1 musicexpr2}
1847 This means that both @var{musicexpr1} and @var{musicexpr2} are
1848 interpreted, but that every non-command atomic music expression
1849 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1850 of @var{musicexpr1}.
1851 @cindex @code{automaticMelismata}
1853 If the property @code{automaticMelismata} is set in the
1854 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1858 @lilypond[verbatim,fragment]
1861 \property Voice.automaticMelismata = ##t
1862 c8 () cis d8. e16 f2
1864 \context Lyrics \lyrics {
1869 You should use a single rhythm melody, and single rhythm lyrics (a
1870 constant duration is the obvious choice). If you do not, you will get
1871 undesired effects when using multiple stanzas:
1874 @lilypond[verbatim,fragment]
1877 c8 () cis d8. e16 f2
1879 \context Lyrics \lyrics
1886 It is valid (but probably not very useful) to use notes instead of
1887 lyrics for @var{musicexpr2}.
1893 @section Chord entry
1898 * Entering named chords::
1899 * Printing named chords::
1904 @subsection Chords mode
1907 Chord mode is introduced by the keyword
1908 @code{\chords}. It is similar to Note mode, but
1909 words are also looked up in a chord modifier table (containing
1910 @code{maj}, @code{dim}, etc).
1912 Since combinations of numbers and dots are used for indicating
1913 durations, you can not enter real numbers in this mode. Dashes
1914 and carets are used to indicate chord additions and subtractions,
1915 so scripts can not be entered in Chord mode.
1917 @c. {Entering named chords}
1918 @node Entering named chords
1919 @subsection Entering named chords
1920 @cindex Chords names
1922 Chord names are a way to generate simultaneous music expressions that
1923 correspond with traditional chord names. It can only be used in
1924 Chord mode (see section @ref{Lexical modes}).
1928 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1931 @var{tonic} should be the tonic note of the chord, and @var{duration}
1932 is the chord duration in the usual notation. There are two kinds of
1933 modifiers. One type is @emph{chord additions}, which are obtained by
1934 listing intervals separated by dots. An interval is written by its
1935 number with an optional @code{+} or @code{-} to indicate raising or
1936 lowering by half a step. Chord additions has two effects: It adds
1937 the specified interval and all lower odd numbered intervals to the
1938 chord, and it may lower or raise the specified interval. Intervals
1939 must be separated by a dot (@code{.}).
1942 Throughout these examples, chords have been shifted around the staff
1943 using @code{\transpose}.
1948 @lilypond[fragment,verbatim]
1952 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1964 The second type of modifier that may appear after the @code{:} is a
1965 named modifier. Named modifiers are listed in the file
1966 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
1967 @code{min} which lower the 3rd half a step, `@code{aug}' which
1968 raises the 5th, `@code{dim}' which lowers the 5th,
1969 `@code{maj}' which adds a raised 7th, and `@code{sus}'
1970 which replaces the 5th with a 4th.
1974 @lilypond[fragment,verbatim]
1977 c1:m c:min7 c:maj c:aug c:dim c:sus
1985 Chord subtractions are used to eliminate notes from a chord. The
1986 notes to be subtracted are listed after a @code{^} character,
1989 @lilypond[fragment,verbatim,center]
1998 Chord inversions can be specified by appending `@code{/}' and
1999 the name of a single note to a chord. This has the effect of
2000 lowering the specified note by an octave so it becomes the lowest
2001 note in the chord. If the specified note is not in the chord, a
2002 warning will be printed.
2004 @lilypond[fragment,verbatim,center]
2014 Bass notes can be added by `@code{/+}' and
2015 the name of a single note to a chord. This has the effect of
2016 adding the specified note to the chord, lowered by an octave,
2017 so it becomes the lowest note in the chord.
2019 @lilypond[fragment,verbatim,center]
2028 The most interesting application is printing chords using chord names,
2029 See @ref{Chord names}.
2031 You should not combine @code{\relative} with named chords. [FIXME]
2033 @c. {Printing named chords}
2034 @node Printing named chords
2035 @subsection Printing named chords
2040 @cindex printing!chord names
2041 @cindex @code{ChordNames}
2042 @cindex @code{ChordNameVoice}
2044 For displaying printed chord names, use the @code{ChordNames} and
2045 @code{ChordNameVoice} contexts. The chords may be entered either using
2046 the notation described above, or directly using simultaneous music.
2051 \chords {a1 b c} <d f g> <e g b>
2055 \context ChordNamesVoice \scheme
2056 \context Staff \transpose c'' \scheme
2058 \paper { linewidth = -1.; }
2063 You can make the chord changes stand out more by setting property
2064 @code{ChordNames.chordChanges} to true. This will only display chord
2065 names when there's a change in the chords scheme, but always display the
2066 chord name after a line break:
2072 c1:m \break c:m c:m c:m d
2077 \context ChordNames \scheme
2078 \context Staff \transpose c'' \scheme
2081 linewidth = 40 * \staffspace;
2093 LilyPond examines chords specified as lists of notes to determine a
2094 name to give the chord. LilyPond will not try to
2095 identify chord inversions or added base, which may result in strange
2096 chord names when chords are entered as a list of pitches:
2099 @lilypond[verbatim,center]
2108 \context ChordNamesVoice \scheme
2109 \context Staff \scheme
2111 \paper { linewidth = -1.; }
2116 To specify chord inversions, append @code{/<notename>}. To specify an
2117 added bass note, append @code{/+<notename}:
2120 @lilypond[verbatim,center]
2127 \context ChordNames \scheme
2128 \context Staff \transpose c'' \scheme
2130 \paper { linewidth = -1.; }
2135 The chord names that LilyPond should print are fully customizable. The
2136 code to print chord names is written in Scheme. It can be found in
2137 @file{scm/chord-name.scm}. Chord names are based on Banter style
2138 naming, which is unambiguous and has a logical structure. Typical
2139 American style chord names are implemented as a variation on Banter
2140 names, they can be selected by setting property @code{ChordName.style}
2145 \include "english.ly"
2150 df:m5- % Diminished triad
2151 c:5^3 % Root-fifth chord
2152 c:4^3 % Suspended fourth triad
2153 c:5+ % Augmented triad
2155 c:m5-.7- % Diminished seventh
2156 c:7+ % Major seventh
2157 c:7.4^3 % Dominant seventh suspended fourth
2158 c:5+.7 % Augmented dominant seventh
2159 c:m5-.7 % "Half" diminished seventh
2160 c:5-.7 % Dominant seventh flat fifth
2161 c:5-.7+ % Major seventh flat fifth
2162 c:m7+ % Minor-major seventh
2163 c:m7 % Minor seventh
2164 c:7 % Dominant seventh
2167 c:9^7 % Major triad w/added ninth
2168 c:6.9^7 % Six/Nine chord
2169 c:9 % Dominant ninth
2170 c:7+.9 % Major ninth
2171 c:m7.9 % Minor ninth
2176 \context ChordNames \scheme
2177 \context Staff \transpose c'' \scheme
2182 ChordName \override #'word-space = #1
2183 ChordName \override #'style = #'american
2190 Similarly, Jazz style chord names are implemented as a variation on
2191 American style names:
2197 c:6 % 6 = major triad with added sixth
2198 c:maj % triangle = maj
2203 c:m % m = minor triad
2204 c:m.6 % m6 = minor triad with added sixth
2205 c:m.7+ % m triangle = minor major seventh chord
2213 c:7.5+ % +7 = augmented dominant
2214 c:7.5- % 7b5 = hard diminished dominant
2221 c:13.9-^11 % 7(b9,13)
2222 c:13.9+^11 % 7(#9,13)
2224 c:13-.9-^11 % 7(b9,b13)
2225 c:13-.9+^11 % 7(#9,b13)
2227 % half diminished chords
2228 c:m5-.7 % slashed o = m7b5
2229 c:9.3-.5- % o/7(pure 9)
2232 c:m5-.7- % o = diminished seventh chord
2237 \context ChordNames \scheme
2238 \context Staff \transpose c'' \scheme
2243 ChordName \override #'word-space = #1
2244 ChordName \override #'style = #'jazz
2256 @section Page layout
2270 @subsection Paper block
2273 The most important output definition is the @code{\paper} block, for
2274 music notation. The syntax is
2277 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2280 where each of the items is one of
2283 @item An assignment. The assignment must be terminated by a
2286 @item A context definition. See section @ref{contextdefs} for
2287 more information on context definitions.
2296 A margin shape declaration. The syntax is
2297 @cindex @code{\shape}
2300 \shape @var{indent1}@code{,} @var{width1}@code{,}
2301 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2306 Each pair of @var{indent} and @var{width} values is a dimension
2307 specifying how far to indent and how wide to make the line.
2308 The indentation and width of successive lines are specified by
2309 the successive pairs of dimensions. The last pair of
2310 dimensions will define the characeristics of all lines beyond
2311 those explicitly specified.
2314 @item \stylesheet declaration. Its syntax is
2316 \stylesheet @var{alist}
2319 See @file{font.scm} for details of @var{alist}.
2322 @c. {Paper variables}
2323 @node Paper variables
2324 @subsection Paper variables
2325 @cindex Paper variables
2327 The paper block has some variables you may want to use or change:
2330 @cindex @code{indent}
2332 The indentation of the first line of music.
2333 @cindex @code{staffspace}
2335 @item @code{staffspace}
2336 The distance between two staff lines, calculated from the center
2337 of the lines. You should use either this or @code{rulethickness}
2338 as a unit for distances you modify.
2340 @cindex @code{linewidth}
2341 @item @code{linewidth}
2342 Sets the width of the lines. If set to -1.0, a single
2343 unjustified line is produced. If you use this variable, you
2344 probably want to define it in staff spaces, ie
2346 linewidth = 30 * \staffspace;
2348 @cindex @code{textheight}
2350 @item @code{textheight}
2351 Sets the total height of the music on each page. Only used by
2353 @cindex @code{interscoreline}
2355 @item @code{interscoreline}
2356 Sets the spacing between the score lines. Defaults to 16 pt.
2357 @cindex @code{interscorelinefill}
2359 @item @code{interscorelinefill}
2360 If set to a positive number, the distance between the score
2361 lines will stretch in order to fill the full page. In that
2362 case @code{interscoreline} specifies the minimum spacing.
2364 @cindex @code{stafflinethickness}
2366 @item @code{stafflinethickness}
2367 Determines the thickness of staff lines, and also acts as a scaling
2368 parameter for other line thicknesses.
2374 @subsection Font size
2377 The Feta font provides musical symbols at six different sizes. These
2378 fonts are 11 point, 13 point, 16 point, 20 point,
2379 23 point, and 26 point. The point size of a font is the
2380 height of the five lines in a staff when displayed in the font.
2382 Definitions for these sizes are the files @file{paperSZ.ly}, where
2383 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2384 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2385 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2386 @code{paperTwentysix} are defined respectively. The default
2387 @code{\paper} block is also set.
2389 The font definitions are generated using a Scheme function. For more
2390 details, see the file @file{font.scm}.
2396 @subsection Paper size
2401 @cindex @code{papersize}
2403 To change the paper size, you must first set the
2404 @code{papersize} variable at top level. Set it to
2405 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2406 specification, you must set the font as described above. If you want
2407 the default font, then use the 20 point font. The new paper size will
2408 not take effect if the font is not loaded and selected afterwards.
2412 \include "paper16.ly"
2416 \paper @{ \paperSixteen @}
2420 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2421 will set the paper variables @code{hsize} and @code{vsize} (used by
2432 @subsection Line break
2436 @cindex @code{\penalty}
2439 \penalty @var{int} @code{;}
2442 Discourage or encourage line breaks. See @ref{Page layout}.
2448 @cindex breaking lines
2450 Line breaks are normally computed automatically. They are chosen such
2451 that the resulting spacing has low variation, and looks neither cramped
2454 Occasionally you might want to override the automatic breaks; you can do
2455 this by specifying @code{\break} (see also @ref{Pre-defined
2456 Identifiers}). This will force a line break at this point. Do remember
2457 that line breaks can only occur at places where there are barlines. If
2458 you want to have a line break where there is no barline, you can force a
2459 barline by entering @code{\bar "";}.
2466 @subsection Page break
2470 Not implemented, but see @ref{Tricks}
2472 Page breaks are normally computed by @TeX{}, so they are not under direct
2473 control. However, you can insert a commands into the .tex output to
2474 instruct @TeX{} where to break pages. For more details, see the
2475 example file @file{input/test/between-systems.ly}
2479 @cindex breaking pages
2491 * MIDI instrument names::
2497 @subsection MIDI block
2501 The MIDI block is analogous to the paper block, but it is somewhat
2502 simpler. The @code{\midi} block can contain:
2506 @item a @code{\tempo} definition
2507 @item context definitions
2510 Assignments in the @code{\midi} block are not allowed.
2514 @cindex context definition
2516 Context definitions follow precisely the same syntax as within the
2517 \paper block. Translation modules for sound are called performers.
2518 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2521 @c. {MIDI instrument names}
2522 @node MIDI instrument names
2523 @subsection MIDI instrument names
2524 @cindex instrument names
2525 @cindex @code{Staff.midiInstrument}
2526 @cindex @code{Staff.instrument}
2528 The MIDI instrument name is set by the @code{Staff.midiInstrument}
2529 property or, if that property is not set, the @code{Staff.instrument}
2530 property. The instrument name should be chosen from the following list.
2531 If the selected string does not exactly match, then LilyPond uses the
2534 [FIXME: to appendix ]
2538 "acoustic grand" "contrabass" "lead 7 (fifths)"
2539 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2540 "electric grand" "pizzicato strings" "pad 1 (new age)"
2541 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2542 "electric piano 1" "timpani" "pad 3 (polysynth)"
2543 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2544 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2545 "clav" "synthstrings 1" "pad 6 (metallic)"
2546 "celesta" "synthstrings 2" "pad 7 (halo)"
2547 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2548 "music box" "voice oohs" "fx 1 (rain)"
2549 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2550 "marimba" "orchestra hit" "fx 3 (crystal)"
2551 "xylophone" "trumpet" "fx 4 (atmosphere)"
2552 "tubular bells" "trombone" "fx 5 (brightness)"
2553 "dulcimer" "tuba" "fx 6 (goblins)"
2554 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2555 "percussive organ" "french horn" "fx 8 (sci-fi)"
2556 "rock organ" "brass section" "sitar"
2557 "church organ" "synthbrass 1" "banjo"
2558 "reed organ" "synthbrass 2" "shamisen"
2559 "accordion" "soprano sax" "koto"
2560 "harmonica" "alto sax" "kalimba"
2561 "concertina" "tenor sax" "bagpipe"
2562 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2563 "acoustic guitar (steel)" "oboe" "shanai"
2564 "electric guitar (jazz)" "english horn" "tinkle bell"
2565 "electric guitar (clean)" "bassoon" "agogo"
2566 "electric guitar (muted)" "clarinet" "steel drums"
2567 "overdriven guitar" "piccolo" "woodblock"
2568 "distorted guitar" "flute" "taiko drum"
2569 "guitar harmonics" "recorder" "melodic tom"
2570 "acoustic bass" "pan flute" "synth drum"
2571 "electric bass (finger)" "blown bottle" "reverse cymbal"
2572 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2573 "fretless bass" "whistle" "breath noise"
2574 "slap bass 1" "ocarina" "seashore"
2575 "slap bass 2" "lead 1 (square)" "bird tweet"
2576 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2577 "synth bass 2" "lead 3 (calliope)" "helicopter"
2578 "violin" "lead 4 (chiff)" "applause"
2579 "viola" "lead 5 (charang)" "gunshot"
2580 "cello" "lead 6 (voice)"
2591 @cindex beats per minute
2592 @cindex metronome marking
2594 @cindex @code{\tempo}
2596 \tempo @var{duration} = @var{perminute} @code{;}
2599 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
2600 output with 76 quarter notes per minute.
2608 @section Music entry
2611 * Pre-defined Identifiers::
2615 @c. {Pre-defined Identifiers}
2616 @node Pre-defined Identifiers
2617 @subsection Pre-defined Identifiers
2618 @cindex pre-defined identifiers
2621 Various identifiers are defined in the initialization files to
2622 provide shorthands for some settings. Most of them are in
2623 @file{ly/declarations.ly} and @file{ly/property.ly}.
2626 @cindex @code{\break}
2628 Force a line break in music by using a large argument for the
2629 keyword @code{\penalty}.
2631 @cindex @code{\nobreak}
2632 @item @code{\nobreak}
2633 Prevent a line break in music by using a large negative argument
2634 for the keyword @code{\penalty}.
2636 @cindex @code{\shiftOff}
2637 @item @code{\shiftOff}
2638 Disable horizontal shifting of note heads that collide.
2640 @cindex @code{\shiftOn}
2641 @item @code{\shiftOn}
2642 Enable note heads that collide with other note heads to be
2643 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
2644 set different shift values.
2646 @cindex @code{\stemBoth}
2647 @item @code{\stemBoth}
2648 Allow stems, beams, and slurs to point either upwards or
2649 downwards, decided automatically by LilyPond.
2651 @cindex @code{\stemDown}
2652 @item @code{\stemDown}
2653 Force stems, beams, and slurs to point down.
2655 @cindex @code{\stemUp}
2656 @item @code{\stemUp}
2657 Force stems, beams and slurs to point up.
2662 @c. {Point and click}
2663 @node Point and click
2664 @subsection Point and click
2673 * Context definitions::
2674 * Notation Contexts::
2677 @c. {Context definitions}
2678 @node Context definitions
2679 @subsection Context definitions
2681 @cindex context definition
2682 @cindex translator definition
2683 @cindex engraver hacking
2686 A notation contexts is defined by the following information
2691 @item The LilyPond modules that do the actual conversion of music to
2692 notation. Each module is a so-called
2697 @item How these modules should cooperate, i.e. which ``cooperation
2698 module'' should be used. This cooperation module is a special
2701 @item What other contexts the context can contain,
2703 @item What properties are defined.
2706 A context definition has this syntax:
2710 \translator @code{@{}
2711 @var{translatorinit} @var{translatormodifierlist}
2715 @var{translatorinit} can be an identifier or of the form
2719 \type @var{typename} @code{;}
2722 @var{typename} is one of
2725 @cindex @code{Engraver_group_engraver}
2726 @item @code{Engraver_group_engraver}
2727 The standard cooperation engraver.
2728 @cindex @code{Score_engraver}
2730 @item @code{Score_engraver}
2731 This is cooperation module that should be in the top level context.
2732 @cindex @code{Grace_engraver_group}
2734 @item @code{Grace_engraver_group}
2735 This is a special cooperation module (resembling
2736 @code{Score_engraver}) that is used to created an embedded
2740 @var{translatormodifierlist} is a list of items where each item is
2744 @item @code{\consists} @var{engravername} @code{;}
2745 Add @var{engravername} to the list of modules in this context.
2746 The order of engravers added with @code{\consists} is
2749 @item @code{\consistsend} @var{engravername} @code{;}
2750 Analogous to @code{\consists}, but makes sure that
2751 @var{engravername} is always added to the end of the list of
2754 Some engraver types need to be at the end of the list; this
2755 insures they are put there, and stay there, if a user adds or
2756 removes engravers. This command is usually not needed for
2759 @item @code{\accepts} @var{contextname} @code{;}
2760 Add @var{contextname} to the list of context this context can
2761 contain. The first listed context is the context to create by
2764 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2765 completeness, but is never used in practice.
2768 @item @code{\remove} @var{engravername} @code{;}
2769 Remove a previously added (with @code{\consists}) engraver.
2771 @item @code{\name} @var{contextname} @code{;}
2772 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2773 the name is not specified, the translator won't do anything.
2775 @item @var{propname} @code{=} @var{value} @code{;}
2776 A property assignment. It is allowed to use reals for
2780 In the @code{\paper} block, it is also possible to define translator
2781 identifiers. Like other block identifiers, the identifier can only
2782 be used as the very first item of a translator. In order to define
2783 such an identifier outside of @code{\score}, you must do
2789 foo = \translator @{ @dots{} @}
2796 \translator @{ \foo @dots{} @}
2804 @cindex paper types, engravers, and pre-defined translators
2806 Some pre-defined identifiers can simplify modification of
2807 translators. The pre-defined identifiers are:
2810 @cindex @code{StaffContext}
2811 @item @code{StaffContext}
2812 Default Staff context.
2813 @cindex @code{RhythmicStaffContext}
2815 @item @code{RhythmicStaffContext}
2816 Default RhythmicStaff context.
2817 @cindex @code{VoiceContext}
2819 @item @code{VoiceContext}
2820 Default Voice context.
2821 @cindex @code{ScoreContext}
2823 @item @code{ScoreContext}
2824 Default Score context.
2825 @cindex @code{ScoreWithNumbers}
2827 @item @code{ScoreWithNumbers}
2828 Score context with numbering at the Score level.
2829 @cindex @code{BarNumberingStaffContext}
2831 @item @code{BarNumberingStaffContext}
2832 Staff context with numbering at the Staff level.
2833 @cindex @code{HaraKiriStaffContext}
2835 @item @code{HaraKiriStaffContext}
2836 Staff context that does not print if it only contains rests.
2837 Useful for orchestral scores.@footnote{Harakiri, also called
2838 Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
2839 @cindex @code{OrchestralPartStaffContext}
2841 @item @code{OrchestralPartStaffContext}
2842 @cindex @code{OrchestralScoreContext}
2844 @item @code{OrchestralScoreContext}
2847 Using these pre-defined values, you can remove or add items to the
2856 \remove Some_engraver;
2857 \consists Different_engraver;
2867 @c. {Notation Contexts}
2868 @node Notation Contexts
2869 @subsection Notation Contexts
2871 @cindex notation contexts
2873 Notation contexts are objects that only exist during a run of
2874 LilyPond. During the interpretation phase of LilyPond, the Music
2875 expression contained in a @code{\score} block is interpreted in time
2876 order. This is the order in which humans read, play, and write
2879 A context is an object that holds the reading state of the
2880 expression; it contains information like
2883 @item What notes are playing at this point?
2884 @item What symbols will be printed at this point?
2885 @item In what style will they printed?
2886 @item What is the current key signature, time signature, point within
2890 Contexts are grouped hierarchically: A @code{Voice} context is
2891 contained in a @code{Staff} context (because a staff can contain
2892 multiple voices at any point), a @code{Staff} context is contained in
2893 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2894 these can all contain multiple staffs).
2896 Contexts associated with sheet music output are called @emph{notation
2897 contexts}, those for sound output are called performance contexts.
2899 Contexts are created either manually or automatically. Initially, the
2900 top level music expression is interpreted by the top level context (the
2901 @code{Score} context). When a atomic music expression (i.e. a note, a
2902 rest, etc.), a nested set of contexts is created that can process these
2903 atomic expressions, as in this example:
2906 \score @{ \notes @{ c4 @} @}
2909 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2910 context. When the note @code{c4} itself is interpreted, a set of
2911 contexts is needed that will accept notes. The default for this is a
2912 @code{Voice} context, contained in a @code{Staff} context. Creation of
2913 these contexts results in the staff being printed.
2917 You can also create contexts manually, and you probably have to do so
2918 if you want to typeset complicated multiple part material. If a
2919 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2920 during the interpretation phase, the @var{musicexpr} argument will be
2921 interpreted with a context of type @var{name}. If you specify a name,
2922 the specific context with that name is searched.
2926 If a context of the specified type and name can not be found, a new
2927 one is created. For example,
2933 \notes \relative c'' {
2934 c4 <d4 \context Staff = "another" e4> f
2941 In this example, the @code{c} and @code{d} are printed on the
2942 default staff. For the @code{e}, a context Staff called
2943 @code{another} is specified; since that does not exist, a new
2944 context is created. Within @code{another}, a (default) Voice context
2945 is created for the @code{e4}. When all music referring to a
2946 context is finished, the context is ended as well. So after the
2947 third quarter, @code{another} is removed.
2949 Almost all music expressions inherit their interpretation context
2950 from their parent. In other words, suppose that the syntax for a
2955 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2958 When the interpretation of this music expression starts, the context
2959 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2962 Lastly, you may wonder, why this:
2968 \notes \relative c'' @{
2976 doesn't result in this:
2981 \notes \relative c'' {
2988 For the @code{c4}, a default @code{Staff} (with a contained
2989 @code{Voice}) context is created. After the @code{c4} ends, no
2990 music refers to this default staff, so it would be ended, with the
2991 result shown. To prevent this inconvenient behavior, the context to
2992 which the sequential music refers is adjusted during the
2993 interpretation. So after the @code{c4} ends, the context of the
2994 sequential music is also the default @code{Voice} context.
2995 The @code{d4} gets interpreted in the same context
2998 Properties that are set in one context are inherited by all of the
2999 contained contexts. This means that a property valid for the
3000 @code{Voice} context can be set in the @code{Score} context (for
3001 example) and thus take effect in all @code{Voice} contexts.
3003 Properties can be preset within the @code{\translator} block
3004 corresponding to the appropriate context. In this case, the syntax
3008 @var{propname} @code{=} @var{value}
3011 This assignment happens before interpretation starts, so a
3012 @code{\property} expression will override any predefined settings.
3014 The property settings are used during the interpretation phase. They
3015 are read by the LilyPond modules where interpretation contexts are
3016 built of. These modules are called @emph{translators}. Translators for
3017 notation are called @emph{engravers}, and translators for sound are
3018 called @emph{performers}.
3024 @section Lexer innards
3025 @cindex Lexer innards
3037 @subsection Top level
3040 This section describes what you may enter at top level.
3043 @unnumberedsubsec Score definition
3044 @cindex score definition
3046 The output is generated combining a music expression with an output
3047 definition. A score block has the following syntax:
3050 \score @{ @var{musicexpr} @var{outputdefs} @}
3053 @var{outputdefs} are zero or more output definitions. If no output
3054 definition is supplied, the default @code{\paper} block will be added.
3058 @subsubsection Score
3062 @subsubsection Paper
3070 @subsubsection Header
3072 @cindex @code{\header}
3077 \header @{ @var{key1} = @var{val1};
3078 @cindex @code{ly2dvi}
3079 @var{key2} = @var{val2}; @dots{} @}
3083 A header describes the file's contents. It can also appear in a
3084 @code{\score} block. Tools like @code{ly2dvi} can use this
3085 information for generating titles. Key values that are used by
3086 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3087 metre, arranger, piece and tagline.
3089 It is customary to put the @code{\header} at the top of the file.
3091 @subsubsection Default output
3093 A @code{\midi} or @code{\paper} block at top-level sets the default
3095 paper block for all scores that lack an explicit paper block.
3099 @subsection Identifiers
3102 All of the information in a LilyPond input file, is represented as a
3103 Scheme value. In addition to normal Scheme data types (such as pair,
3104 number, boolean, etc.), LilyPond has a number of specialized data types,
3109 @item Music: see @ref{Music expressions}
3111 @item Translator_def:
3112 See section @ref{contextdefs} for more information
3116 @item Music_output_def
3117 @item Moment (rational number)
3120 LilyPond also includes some transient object types. Objects of these
3121 types are built during a LilyPond run, and do not `exist' per se within
3122 your input file. These objects are created as a result of your input
3123 file, so you can include commands in the input to manipulate them,
3124 during a lilypond run.
3127 @item Grob: short for Graphical object. See @ref{Grobs}.
3128 @item Molecule: device-independent page output object,
3129 including dimensions. Produced by some Grob functions
3131 @item Translator: object that produces audio objects or Grobs. This is
3132 not yet user accessible.
3133 @item Font_metric: object representing a font. (See @ref{Font metrics})
3140 @subsection Assignments
3143 Identifiers allow objects to be assigned to names during the parse
3144 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3145 and to refer to an identifier, you preceed its name with a backslash:
3146 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3147 the input-types listed above. Identifier assignments can appear at top
3148 level in the LilyPond file, but also in @code{\paper} blocks.
3150 Semicolons are forbidden after top level assignments, but mandatory in
3151 other places. The rules about semicolons and assignments are very
3152 confusing, but when LilyPond input evolves more towards Scheme, we hope
3153 that this problem will grow smaller.
3155 An identifier can be created with any string for its name, but you will
3156 only be able to refer to identifiers whose names begin with a letter,
3157 being entirely alphanumeric. It is impossible to refer to an identifier
3158 whose name is the same as the name of a keyword.
3160 The right hand side of an identifier assignment is parsed completely
3161 before the assignment is done, so it is allowed to redefine an
3162 identifier in terms of its old value, e.g.
3168 When an identifier is referenced, the information it points to is
3169 copied. For this reason, an identifier reference must always be the
3170 first item in a block.
3174 \paperIdent % wrong and invalid
3178 \paperIdent % correct
3185 @c. {Lexical details}
3186 @node Lexical details
3187 @subsection Lexical details
3188 @cindex Lexical details
3193 @subsubsection Comments
3199 A one line comment is introduced by a @code{%} character.
3200 Block comments are started by @code{%@{} and ended by `@code{%@}}'.
3201 They cannot be nested.
3204 @subsubsection Direct Scheme
3207 @cindex Scheme, in-line code
3210 LilyPond contains a Scheme interpreter (the GUILE library) for
3211 internal use. In some places Scheme expressions also form valid syntax:
3212 whereever it is allowed,
3216 evaluates the specified Scheme code. If this is used at toplevel, then
3217 the result is discarded. Example:
3219 \property Staff.TestObject \override #'foobar = #(+ 1 2)
3222 @code{\override} expects two Scheme expressions, so there are two Scheme
3223 expressions. The first one is a symbol (@code{foobar}), the second one
3224 an integer (namely, 3).
3226 Scheme is a full-blown programming language, and a full discussion is
3227 outside the scope of this document. Interested readers are referred to
3228 the website @uref{http://www.schemers.org/} for more information on
3233 @subsubsection Keywords
3237 Keywords start with a backslash, followed by a number of lower case
3238 alphabetic characters. These are all the keywords.
3241 apply arpeggio autochange spanrequest commandspanrequest
3242 simultaneous sequential accepts alternative bar breathe
3243 char chordmodifiers chords clef cm consists consistsend
3244 context denies duration dynamicscript elementdescriptions
3245 font grace header in lyrics key mark pitch
3246 time times midi mm name pitchnames notes outputproperty
3247 override set revert partial paper penalty property pt
3248 relative remove repeat addlyrics partcombine score
3249 script stylesheet skip textscript tempo translator
3254 @subsubsection Integers
3262 Formed from an optional minus sign followed by digits. Arithmetic
3263 operations cannot be done with integers, and integers cannot be mixed
3267 @subsubsection Reals
3268 @cindex real numbers
3274 Formed from an optional minus sign and a sequence of digits followed
3275 by a @emph{required} decimal point and an optional exponent such as
3276 @code{-1.2e3}. Reals can be built up using the usual operations:
3277 `@code{+}', `@code{-}', `@code{*}', and
3278 `@code{/}', with parentheses for grouping.
3286 A real constant can be followed by one of the dimension keywords:
3287 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
3288 points, inches and centimeters, respectively. This converts the number
3289 to a real that is the internal representation of dimensions.
3293 @subsubsection Strings
3297 Begins and ends with the @code{"} character. To include a @code{"}
3298 character in a string write @code{\"}. Various other backslash
3299 sequences have special interpretations as in the C language. A string
3300 that contains no spaces can be written without the quotes. See
3301 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
3302 depending on the situation. Strings can be concatenated with the
3305 The tokenizer accepts the following commands. They have no grammatical
3306 function, hence they can appear anywhere in the input.
3310 @subsubsection Main input
3313 @cindex @code{\maininput}
3315 The @code{\maininput} command is used in init files to signal that the
3316 user file must be read. This command cannot be used in a user file.
3318 @c. {File inclusion}
3319 @subsubsection Main input
3322 @subsubsection File inclusion
3323 @cindex @code{\include}
3325 \include @var{filename}
3328 Include @var{filename}. The argument @var{filename} may be a quoted string (an
3329 unquoted string will not work here!) or a string identifier. The full
3330 filename including the @file{.ly} extension must be given,
3332 @subsubsection Version information
3333 @cindex @code{\version}
3335 \version @var{string} ;
3338 Specify the version of LilyPond that a file was written for. The
3339 argument is a version string in quotes, for example @code{"1.2.0"}.
3340 This is used to detect invalid input, and to aid
3341 @code{convert-ly} a tool that automatically upgrades input files. See
3342 See @ref{convert-ly} for more information on @code{convert-ly}.
3350 @subsubsection Pitch names
3351 @cindex Lexical modes
3355 @cindex chord modifier names
3357 Note names and chord modifiers can be customised for nationalities.
3358 languages and conventions. The syntax is as follows.
3359 @cindex @code{\pitchnames}
3360 @cindex @code{\chordmodifiers}
3363 \pitchnames @var{scheme-alist}
3364 \chordmodifiers @var{scheme-alist}
3367 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
3368 specific examples how to do this. tables can be tailored specified
3369 using. Some national note names have been provided, see
3370 section @ref{Other languages}.
3371 A @code{\paper} block at top level sets the default paper block. A
3372 @code{\midi} block at top level works similarly.
3375 @subsubsection Assignments
3379 Identifier assignments may appear at top level. @ref{Assignments}
3384 @subsubsection Direct scheme
3385 @cindex Direct scheme
3387 Scheme statements maybe issued to produce interesting side-effects.
3392 @subsection Lexical modes
3393 @cindex Lexical modes
3395 @cindex Lexical modes
3398 To simplify entering notes, lyrics, and chords, LilyPond has three
3399 special input modes on top of the default mode. In each mode, words
3400 are identified on the input. If @code{"word"} is encountered, it is
3401 treated as a string. If @code{\word} is encountered, it is treated as
3402 a keyword or as an identifier. The behavior of the modes differs in
3403 two ways: Different modes treat unquoted words differently, and
3404 different modes have different rules for deciding what is a word.
3410 At the start of parsing, LilyPond is in Normal mode. In Normal
3411 mode, a word is an alphabetic character followed by alphanumeric
3412 characters. If @code{word} is encountered on the input it is
3413 treated as a string.
3416 See @ref{Note entry}.
3419 See @ref{Lyrics entry}.
3422 See @ref{Chord entry}.
3429 @cindex @code{\notes}
3430 @cindex @code{\chords}
3431 @cindex @code{\lyrics}
3433 Mode switching keywords form compound music expressions: @code{\notes}
3434 @var{musicexpr}, @code{\chords} @var{musicexpr},
3435 and @code{\lyrics} @var{musicexpr}. These
3436 expressions do not add anything to the meaning of their arguments. They
3437 are just a way to indicate that the arguments should be parsed in
3438 indicated mode. See @ref{Lexical modes} for more information on modes.
3442 @subsection Ambiguities
3447 The grammar contains a number of ambiguities. We hope to resolve them at
3451 @item The assignment
3457 can be interpreted as making a string identifier @code{\foo}
3458 containing @code{"bar"}, or a music identifier @code{\foo}
3459 containing the syllable `bar'.
3461 @item The assignment
3467 can be interpreted as making an integer identifier
3468 containing -6, or a Request identifier containing the
3469 fingering `6' (with neutral direction).
3471 @item If you do a nested repeat like
3483 then it is ambiguous to which @code{\repeat} the
3484 @code{\alternative} belongs. This is the classic if-then-else
3485 dilemma. It may be solved by using braces.
3487 @item (an as yet unidentified ambiguity :-)
3503 @unnumberedsubsec Translation property
3505 @cindex @code{\property}
3507 \property @var{contextname}.@var{propname} = @var{value}
3510 Sets the @var{propname} property of the context @var{contextname} to
3511 the specified @var{value}. All three arguments are strings.
3512 Depending on the context, it may be necessary to quote the strings or
3513 to leave space on both sides of the dot.
3515 @cindex translator switches
3516 @unnumberedsubsec Translator switches
3518 @cindex @code{\translator}
3520 \translator @var{contexttype} = @var{name}
3523 A music expression indicating that the context which is a direct
3524 child of the a context of type @var{contexttype} should be shifted to
3525 a context of type @var{contexttype} and the specified name.
3527 Usually this is used to switch staffs in Piano music, e.g.
3530 \translator Staff = top @var{Music}
3534 @cindex output properties
3535 @unnumberedsubsec Output properties
3537 These allow you to tweak what is happening in the back-end
3538 directly. If you want to control every detail of the output
3539 formatting, this is the feature to use. The downside to this is that
3540 you need to know exactly how the backend works. Example:
3543 @lilypond[fragment,verbatim]
3545 \context Staff \outputproperty
3546 #(make-type-checker 'note-head-interface)
3547 #'extra-offset = #'(5.0 . 7.5)
3551 This selects all note heads occurring at current staff level, and sets
3552 the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
3555 Use of this feature is entirely on your own risk: if you use this, the
3556 result will depend very heavily on the implementation of the backend,
3557 which we change regularly and unscrupulously.
3560 @c.{Local emacs vars}
3563 @c minor-mode: font-lock
3564 @c minor-mode: outline
3565 @c outline-layout: (-1 : 0)
3566 @c outline-use-mode-specific-leader: "@c\."
3567 @c outline-primary-bullet: "{"
3568 @c outline-stylish-prefixes: nil
3569 @c outline-override-protect: t