3 @node Reference Manual, , , Top
6 * Top level:: Top level
7 * notenames:: notenames
8 * Lexical conventions:: Lexical conventions
9 * Other languages:: notelang
12 * Music expressions:: Music expressions
13 * Atomic music expressions:: Atomic music expressions
14 * Note specification:: notedesc
16 * Manual beams:: Manual beam
18 * Compound music expressions:: Compound music expressions
21 * transpose:: transpose
22 * Ambiguities:: Ambiguities
23 * Notation conversion specifics:: Notation conversion specifics
25 * lyricprint:: lyricprint
26 * Notation Contexts:: Notation Contexts
27 * Properties:: Changing formatting
28 * Notation output definitions:: Notation output definitions
30 * Paper variables:: papervars
31 * contextdefs:: contextdefs
32 * engravers:: engravers
33 * Sound output:: Sound output
35 * Pre-defined Identifiers:: Pre-defined Identifiers
38 @chapter Reference Manual
42 @node Overview, , , Reference Manual
45 This document@footnote{This document has been revised for
46 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
47 a language for defining music. We call this language @emph{Music
48 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
49 comes up with a better name, we'd gladly take this. Gourlay already
50 uses a ``Musical Description Language,'' ISO standard 10743 defines a
51 ``Standard Music Description Language.'' We're not being original
54 @emph{Mudela} is a language that allows you to
57 @item create musical expressions by combining pitches, durations
58 @item output those musical expressions to various formats
59 @item give those musical expressions and output definitions names, so
60 you can enter them in manageable chunks.
63 @emph{Mudela} aims to define a piece of music completely, both from
64 typesetting and from a performance point of view.
68 @node Top level, , , Reference Manual
73 This section describes what you may enter at top level.
77 @cindex score definition
79 The output is generated combining a music expression with an output
80 definition. A score block has the following syntax:
83 \score @{ @var{musicexpr} @var{outputdefs} @}
86 @var{outputdefs} are zero or more output definitions. If no output
87 definition is supplied, the default @code{\paper} block will be added.
98 \header @{ @var{key1} = @var{val1};
99 @var{key2} = @var{val2}; @dots{} @}
102 A header describes the file's contents. It can also appear in a
103 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
104 information for generating titles. Key values that are used by
105 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
106 metre, arranger, piece and tagline.
108 It is customary to put the @code{\header} at the top of the file.
111 @node notenames, , , Reference Manual
113 Note name tables can be specified using
116 \notenames@keyindex{notenames}
117 @{ @var{assignmentlist} @}
120 @var{assignmentlist} is a list of definitions of the form
123 @var{name} = @var{pitch}
126 Chord modifiers can be set analogously, with
127 @code{\chordmodifiers}@keyindex{chordmodifiers}.
129 A @code{\paper} block at top level sets the default paper block. A
130 @code{\midi} block at top level works similarly.
134 LilyPond contains a Scheme interpreter (the GUILE library) for
135 internal use. The following commands access the interpreter
139 \scm @keyindex{scm} @var{scheme} ;
142 Evaluates the specified Scheme code. The result is discarded.
145 \scmfile@keyindex{scmfile} @var{filename};
148 Reads Scheme code from the specified file. The result is discarded.
152 Identifier assignments may appear at top level. Semicolons are
153 forbidden after top level assignments.
157 @node Lexical conventions, , , Reference Manual
158 @section Lexical conventions
160 @cindex lexical conventions
169 A one line comment is introduced by a `@code{%}' character.
170 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
171 They cannot be nested.
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
239 Formed from an optional minus sign followed by digits. Arithmetic
240 operations cannot be done with integers, and integers cannot be mixed
248 Formed from an optional minus sign and a sequence of digits followed
249 by a @emph{required} decimal point and an optional exponent such as
250 @code{-1.2e3}. Reals can be built up using the usual operations:
251 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
252 `@code{/}@indexcode{/}', with parentheses for grouping.
254 A real constant can be followed by one of the dimension
257 @code{\mm}@keyindex{mm},
258 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
259 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
260 centimeters, respectively. This converts the number to a real that
261 is the internal representation of dimensions.
268 Begins and ends with the `@code{"}' character. To include a `@code{"}'
269 character in a string write `@code{\"}'. Various other backslash
270 sequences have special interpretations as in the C language. A
271 string that contains no spaces can be written without the quotes.
272 See section XREF-modes [FIXME] for details on unquoted strings; their
273 interpretation varies depending on the situation. Strings can be
274 concatenated with the `@code{+}' operator.
277 The tokenizer accepts the following commands. They can appear
281 \maininput@keyindex{maininput}
284 This command is used in init files to signal that the user file must
285 be read. This command cannot be used in a user file.
288 \include@keyindex{include} @var{file}
291 Include @var{file}. The argument @var{file} may be a quoted string (an
292 unquoted string will not work here!) or a string identifier. The full
293 filename including the @file{.ly} extension must be given,
296 \version@keyindex{version} @var{string} ;
299 Specify the version of LilyPond that a file was written for. The
300 argument is a version string in quotes, for example @code{"1.2.0"}.
301 This is used to detect invalid input, and to aid
302 @code{convert-mudela}, a tool that automatically upgrades input files.
306 @cindex other languages
308 @node Other languages, , , Reference Manual
310 Note name definitions have been provided in various languages.
311 Simply include the language specific init file. For example:
312 `@code{\include "english.ly"}'. The available language files and the
313 names they define are:
318 Note Names sharp flat
319 nederlands.ly c d e f g a bes b -is -es
320 english.ly c d e f g a bf b -s/-sharp -f/-flat
321 deutsch.ly c d e f g a b h -is -es
322 norsk.ly c d e f g a b h -iss/-is -ess/-es
323 svenska.ly c d e f g a b h -iss -ess
324 italiano.ly do re mi fa sol la sid si -d -b
325 catalan.ly do re mi fa sol la sid si -d/-s -b
330 Pitch names can be redefined using the
331 @code{\notenames}@keyindex{notenames} command, see
332 subsection XREF-notenames [FIXME].
336 @cindex lexical modes
340 @node modes, , , Reference Manual
342 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
343 special input modes on top of the default mode. In each mode, words
344 are identified on the input. If @code{"word"} is encountered, it is
345 treated as a string. If @code{\word} is encountered, it is treated as
346 a keyword or as an identifier. The behavior of the modes differs in
347 two ways: Different modes treat unquoted words differently, and
348 different modes have different rules for deciding what is a word.
354 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
355 mode, a word is an alphabetic character followed by alphanumeric
356 characters. If @code{word} is encountered on the input it is
362 Note mode is introduced by the keyword
363 @code{\notes}@keyindex{notes}. In Note mode, words can only
364 contain alphabetic characters. If @code{word} is encountered,
365 LilyPond first checks for a notename of @code{word}. If no
366 notename is found, then @code{word} is treated as a string.
368 Since combinations of numbers and dots are used for indicating
369 durations, it is not possible to enter real numbers in this mode.
374 Chord mode is introduced by the keyword
375 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
376 words are also looked up in a chord modifier table (containing
377 @code{maj}, @code{dim}, etc).
379 Since combinations of numbers and dots are used for indicating
380 durations, you can not enter real numbers in this mode. Dashes
381 and carets are used to indicate chord additions and subtractions,
382 so scripts can not be entered in Chord mode.
387 Lyrics mode is introduced by the keyword
388 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
389 easy to include punctuation and diacritical marks in words. A
390 word in Lyrics mode begins with: an alphabetic character,
391 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
392 control characters @code{^A} through @code{^F}, @code{^Q} through
393 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
394 over 127, or a two-character combination of a backslash followed
395 by one of `@code{`}', `@code{'}', `@code{"}', or
396 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
397 enter lyrics in TeX format or a standard encoding without
398 needing quotes. The precise definition of this mode indeed is
399 ludicrous. This will remain so until the authors of LilyPond
400 acquire a deeper understanding of character encoding, or someone
401 else steps up to fix this.}
403 Subsequent characters of a word can be any character that is not
404 a digit and not white space. One important consequence of this
405 is that a word can end with `@code{@}}', which may be confusing if
406 you thought the closing brace was going to terminate Lyrics
407 mode.@footnote{LilyPond will issue a warning, though.} Any
408 `@code{_}' characters which appear in an unquoted word are
409 converted to spaces. This provides a mechanism for introducing
410 spaces into words without using quotes. Quoted words can also be
411 used in Lyrics mode to specify words that cannot be written with
412 the above rules. Here are some examples. Not all of these words
413 are printable by TeX.
420 2B_||_!2B % not a word because it starts with a digit
421 ``Hello'' % not a word because it starts with `
422 _ _ _ _ % 4 words, each one a space
427 Since combinations of numbers and dots are used for indicating
428 durations, you can not enter real numbers in this mode.
431 It is possible to create words that break the rules by prefixing them
432 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
433 word beginning with `@code{$}' extends until the next white space
434 character. Such words can contain numbers (even in Note mode), or
435 other forbidden characters. The dollar sign can be used to create
436 and access identifiers that could not otherwise be used.@footnote{Use
437 of `@code{$}' hampers readability and portability to future LilyPond
438 versions, thus the use of the dollar sign is discouraged.}
442 @node Types, , , Reference Manual
445 @cindex types and identifiers
447 @emph{Mudela} has a limited set of types:
453 @item music expressions
454 @item durations of notes and rests (specified with
455 @code{\notenames}@keyindex{notenames})
456 @item note name tables
457 @item context definitions, part of output definitions. See
458 section XREF-contextdefs [FIXME] for more information
459 @item output definitions (like @code{\paper}@keyindex{paper} blocks
460 and @code{\midi}@keyindex{midi} blocks)
461 @item score definitions (@code{\score}@keyindex{score} blocks)
464 Type is a syntactical property: @emph{Mudela} has no real type system,
465 so there is no support for generic expressions, functions, or user
466 defined types. For the same reason, it is not possible to mix reals
467 and integers in arithmetic expressions, and ``type
470 (e.g., using a string identifier to
471 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
474 Identifiers allow objects to be assigned to names. To assign an
475 identifier, you use `@var{name}=@var{value}' and to refer to an
476 identifier, you preceed its name with a backslash:
477 `@code{\}@var{name}'. Identifier assignments must appear at top level
478 in the @emph{Mudela} file. Semicolons are forbidden after assignments
479 appearing at top level but they are obligatory after assignments
480 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
482 @var{value} is any of the types listed above.
484 An identifier can be created with any string for its name, but you
485 will only be able to refer to identifiers whose names begin with a
486 letter, being entirely alphanumeric. It is impossible to refer to an
487 identifier whose name is the same as the name of a keyword.
489 The right hand side of an identifier assignment is parsed completely
490 before the assignment is done, so it is allowed to redefine an
491 identifier in terms of its old value, e.g.
497 When an identifier is referenced, the information it points to is
498 copied. Therefore it only makes sense to put identifiers for
499 translators, output definitions, and @code{\score}@keyindex{score}
500 blocks as the first item in a block. For this reason, if you
501 reference a @code{\foo} variable in a @code{\foo} block, it must be the
502 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
503 \two@}} does not make sense, because the information of @code{\two}
504 would overwrite the information of @code{\one}, thereby making the
505 reference to the first identifier useless.}
509 @node Music expressions, , , Reference Manual
510 @section Music expressions
512 @cindex music expressions
514 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
515 lyric syllables are music expressions (the atomic
517 @cindex atomic music expressions
518 , and you can combine
519 music expressions to form new ones. This example forms a compound
520 expressions out of the quarter @code{c} note and a @code{d}
524 \sequential @{ c4 d4 @}
527 The meaning of this compound expression is to play the `@code{c}'
528 first, and then the `@code{d}' (as opposed to playing them
529 simultaneously, for instance).
531 Atomic music expression are discussed in
532 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
533 discussed in subsection XREF-compoundmusic [FIXME].
537 @node Atomic music expressions, , , Reference Manual
538 @section Atomic music expressions
548 The syntax for pitch specification is
552 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
555 @var{octave} is specified by an integer, zero for the octave
556 containing middle C. @var{note} is a number from 0 to 7, with 0
557 corresponding to C and 7 corresponding to B. The shift is zero for a
558 natural, negative to add flats, or positive to add sharps.
560 In Note and Chord mode, pitches may be designated by names. See
561 section XREF-notelang [FIXME] for pitch names in different languages.
563 The syntax for duration specification is
566 \duration@keyindex{duration}
567 @{ @var{length} @var{dotcount} @}
570 @var{length} is the negative logarithm (base 2) of the duration:
571 1 is a half note, 2 is a quarter note, 3 is an eighth
572 note, etc. The number of dots after the note is given by
575 In Note, Chord, and Lyrics mode, durations may be designated by
576 numbers and dots. See Section XREF-notelang [FIXME] for details.
579 @node Note specification, , , Reference Manual
581 @cindex note specification
585 @cindex entering notes
587 A note specification has the form
590 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
593 The pitch of the note is specified by the note's name.
596 The default names are the Dutch note names. The notes are specified
597 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
598 octave below middle C and the letters span the octave above that C.
599 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
600 `@code{-is}' to the end of a pitch name. A flat is formed by adding
601 `@code{-es}'. Double sharps and double flats are obtained by adding
602 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
603 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
606 LilyPond has predefined sets of notenames for various languages. See
607 section XREF-notelang [FIXME] for details.
610 The optional octave specification takes the form of a series of
611 single quote (`@code{'}@indexcode{'}') characters or a series of comma
612 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
613 octave; each @code{,} lowers the pitch by an octave.
615 @mudela[fragment,verbatim,center]
616 c' d' e' f' g' a' b' c''
619 @mudela[fragment,verbatim,center]
620 cis' dis' eis' fis' gis' ais' bis'
623 @mudela[fragment,verbatim,center]
624 ces' des' es' fes' ges' as' bes'
627 @mudela[fragment,verbatim,center]
628 cisis' eisis' gisis' aisis' beses'
631 @mudela[fragment,verbatim,center]
632 ceses' eses' geses' ases' beses'
635 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
636 will determine what accidentals to typeset depending on the key and
637 context. A reminder accidental
638 @cindex reminder accidental
640 forced by adding an exclamation mark `@code{!}' after the pitch. A
641 cautionary accidental,
642 @cindex cautionary accidental
644 accidental within parentheses can be obtained by adding the question
645 mark `@code{?}@indexcode{?}' after the pitch.
647 @mudela[fragment,verbatim,center]
648 cis' d' e' cis' c'? d' e' c'!
654 Durations are entered as their reciprocal values. For notes longer
655 than a whole note, use identifiers.
661 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
670 \notes \relative c'' {
672 a1 a2 a4 a8 a16 a32 a64 a64
677 \remove "Clef_engraver";
678 \remove "Staff_symbol_engraver";
689 r1 r2 r4 r8 r16 r32 r64 r64
698 \notes \relative c'' {
700 r1 r2 r4 r8 r16 r32 r64 r64
703 loose_column_distance = 2.5 * \interline;
706 \type "Score_engraver";
708 \consists "Rest_engraver";
709 \consists "Stem_engraver";
710 \consists "Rhythmic_column_engraver";
717 If the duration is omitted then it is set equal to the previous
718 duration. If there is no previous duration, a quarter note is
719 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
720 to obtain dotted note lengths.
722 @mudela[fragment,verbatim,center]
726 You can alter the length of duration by writing
727 `@code{*}@var{fraction}' after it. This will not affect the
728 appearance of note heads or rests.
731 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
732 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
733 which produces a space of the specified duration.
734 `@code{R}' is specifically meant for entering parts: the @code{R} rest
735 can expand to fill a score with rests, or it can be printed as a
736 single multimeasure rest.
739 @cindex lyrics expressions
741 Syllables are entered like notes, with pitches replaced by text. For
742 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
743 with quarter note duration. Note that the hyphen has no special
744 meaning for lyrics, and does not introduce special symbols. See
745 section XREF-modes [FIXME] for a description of what is interpreted as
748 Spaces can be introduced into a lyric either by using quotes
749 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
750 not4}'. All unquoted underscores are converted to spaces. Printing
751 lyrics is discussed in section XREF-lyricprint [FIXME].
758 \property@keyindex{property}
759 @var{contextname}.@var{propname} = @var{value}
762 Sets the @var{propname} property of the context @var{contextname} to
763 the specified @var{value}. All three arguments are strings.
764 Depending on the context, it may be necessary to quote the strings or
765 to leave space on both sides of the dot.
769 @cindex translator switches
772 \translator@keyindex{translator}
773 @var{contexttype} = @var{name}
776 A music expression indicating that the context which is a direct
777 child of the a context of type @var{contexttype} should be shifted to
778 a context of type @var{contexttype} and the specified name.
780 Usually this is used to switch staffs in Piano music, e.g.
783 \translator Staff = top @var{Music}
790 Commands are music expressions that have no duration.
795 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
798 Change the key signature. @var{type} should be
799 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
800 @var{pitch}-major or @var{pitch}-minor, respectively. The second
801 argument is optional; the default is major keys. The @var{\context}
802 argument can also be given as an integer, which tells the number of
803 semitones that should be added to the pitch given in the subsequent
804 @code{\key}@keyindex{key} commands to get the corresponding major key,
805 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
806 mode names @code{\ionian}@keyindex{ionian},
807 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
808 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
809 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
814 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
817 Specify an arbitrary key signature. The pitches from @var{pitch} will
818 be printed in the key signature in the order that they appear on the
823 \mark@keyindex{mark} @var{unsigned};
827 Prints a mark over or under (depending on the
828 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
829 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
832 @node barlines, , , Reference Manual
835 \bar@keyindex{bar} @var{bartype};
838 This is a request to print a special bar symbol. It replaces the
839 regular bar symbol with a special
840 symbol. The argument @var{bartype} is a string which specifies the
841 kind of bar to print. Options are @code{":|"}
842 @cindex "|A@@@code{:|}
845 @cindex "|B@@@code{|:}
847 @cindex "|C@@@code{:|:}
850 @cindex "|D@@@code{||}
852 @cindex "|E@@@code{|.}
855 @cindex "|F@@@code{.|}
857 @cindex "|G@@@code{.|.}
859 These produce, respectively, a right repeat, a left repeat, a double
860 repeat, a double bar, a start bar, an end bar, and a thick double
861 bar. If @var{bartype} is set to @code{"empty"} then nothing is
862 printed, but a line break is allowed at that spot.
864 You are encouraged to use @code{\repeat} for repetitions.
865 See section XREF-sec-repeats [FIXME].
872 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
875 Change the time signature. The default time signature is 4/4.
876 The time signature is used to generate bar lines.
880 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
883 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
884 requests output with 76 quarter notes per minute.
888 \partial@keyindex{partial} @var{duration} @code{;}
895 This creates an incomplete measure (anacrusis, upbeat) at the start of
896 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
897 lasting two eighth notes.
901 @code{|}@indexcode{|}
906 @cindex shorten measures
910 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
911 interpretation, a warning message is issued if it doesn't fall at a
912 measure boundary. This can help you finding errors in the input.
913 The beginning of the measure will be relocated, so this can also
914 be used to shorten measures.
919 \penalty@keyindex{penalty} @var{int} @code{;}
922 Discourage or encourage line breaks. See identifiers
923 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
924 section [on identifiers] [FIXME].
928 \clef@keyindex{clef} @var{clefname} @code{;}
931 Music expression that sets the current clef. The argument is a
932 string which specifies the name of the clef. Several clef names are
933 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
934 name, then the clef lowered or raised an octave will be generated.
935 Here are the supported clef names with middle C shown in each
944 %\property Voice.textStyle = typewriter
945 \clef subbass; c'4-"\kern -5mm subbass"
946 \clef bass; c'4^"\kern -2mm bass"
947 \clef baritone; c'4_"\kern -5mm baritone"
948 \clef varbaritone; c'4^"\kern -6mm varbaritone"
949 \clef tenor; c'4_"\kern -3mm tenor"
950 \clef "G_8"; c'4^"\kern -2mm G\\_8"
965 \clef alto; c'4_"\kern -2mm alto"
966 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
967 \clef soprano; c'4_"\kern -6mm soprano"
968 \clef treble; c'4^"\kern -4mm treble"
969 \clef french; c'4_"\kern -4mm french"
978 The three clef symbols can also be obtained using the names `@code{G}',
979 `@code{C}' or `@code{F}', optionally followed by an integer which
980 indicates at which note line the clef is located. An as example, the
981 @code{mezzosoprano} clef can also be given as `@code{C2}'.
985 \skip@keyindex{skip} @var{duration} @code{;}
988 Skips the amount of time specified by @var{duration}. If no other
989 music is played, a gap will be left for the skipped time with no
990 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
991 this has the same effect as the space rest `@code{s}'.
996 @node Manual beams, , , Reference Manual
998 A beam is specified by surrounding the beamed notes with brackets
999 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1001 @mudela[fragment,verbatim,center]
1002 [a'8 a'] [a'16 a' a' a']
1005 Some more elaborate constructions:
1007 @mudela[fragment,verbatim,center]
1008 [a'16 <a' c''> c'' <a' c''>]
1009 \times 2/3 { [e'8 f' g'] }
1012 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1014 To place tremolo marks
1015 @cindex tremolo beams
1016 between two notes, begin
1017 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1018 will appear instead of beams. Putting more than two notes in such a
1019 construction will produce odd effects. To create tremolo beams on a
1020 single note, simply attach `@code{:}@var{length}' to the note itself
1021 (see also section XREF-tremolo [FIXME]).
1024 @mu dela[fragment,verbatim,center]
1025 [:16 e'1 g'] [:8 e'4 f']
1028 @mud ela[fragment,verbatim,center]
1029 c'4:32 [:16 c'8 d'8]
1033 @cindex --@@@code{-}@code{-}
1041 The syntax for an extender mark is `@code{__}'. This syntax can only
1042 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1043 a hyphen that will be printed between two lyric syllables) is
1049 A tie connects two adjacent note heads of the same pitch. When used
1050 with chords, it connects all of the note heads whose pitches match.
1051 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1052 If you try to tie together chords which have no common pitches, a
1053 warning message will appear and no ties will be created.
1055 @mudela[fragment,verbatim,center]
1056 e' ~ e' <c' e' g'> ~ <c' e' g'>
1061 [TODO: explain Requests]
1064 @cindex articulations
1070 A variety of symbols can appear above and below notes to indicate
1071 different characteristics of the performance. These symbols can be
1072 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1073 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1074 forced to appear above or below the note by writing
1075 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1076 respectively. Here is a chart showing symbols above notes, with the
1077 name of the corresponding symbol appearing underneath.
1083 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1084 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1085 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1086 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1087 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1088 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1089 c''-\thumb c''-\segno c''-\coda
1091 \context Lyrics \lyrics {
1092 accent__ marcato__ staccatissimo__ fermata
1093 stopped__ staccato__ tenuto__ upbow
1094 downbow__ lheel__ rheel__ ltoe
1095 rtoe__ turn__ open__ flageolet
1096 reverseturn__ trill__ prall__ mordent
1097 prallprall__ prallmordent__ uprall__ downprall
1098 thumb__ segno__ coda
1102 linewidth = 5.875\in;
1109 In addition, it is possible to place arbitrary strings of text or
1110 TeX above or below notes by using a string instead of an
1111 identifier: `@code{c^"text"}'. Fingerings
1114 placed by simply using digits. All of these note ornaments appear in
1115 the printed output but have no effect on the MIDI rendering of the
1118 To save typing, fingering instructions (digits 0 to 9 are
1119 supported) and single characters shorthands exist for a few
1126 \property Voice.textStyle = typewriter
1132 c''4-^_"c-\\^{ }" s4
1139 linewidth = 5.875 \in;
1146 Dynamic marks are specified by using an identifier after a note:
1147 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1148 The available dynamic marks are:
1149 @code{\ppp}@keyindex{ppp},
1150 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1151 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1152 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1153 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1154 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1155 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1156 @code{\rfz}@keyindex{rfz}.
1161 \textscript@keyindex{textscript} @var{text} @var{style}
1164 Defines a text to be printed over or under a note. @var{style} is a
1165 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1166 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1168 You can attach a general textscript request using this syntax:
1173 c4-\textscript "6" "finger"
1174 c4-\textscript "foo" "normal"
1179 This is equivalent to `@code{c4-6 c4-"foo"}'.
1186 \script@keyindex{script} @var{alias}
1189 Prints a symbol above or below a note. The argument is a string
1190 which points into the script-alias table defined in @file{script.scm}.
1191 The scheme definitions specify whether the symbol follows notes into
1192 the staff, dependence of symbol placement on staff direction, and a
1193 priority for placing several symbols over one note. Usually the
1194 @code{\script}@keyindex{script} keyword is not used directly. Various
1195 helpful identifier definitions appear in @file{script.ly}.
1200 Slurs connects chords and try to avoid crossing stems. A slur is
1201 started with `@code{(}' and stopped with `@code{)}'. The
1202 starting `@code{(}' appears to the right of the first note in
1203 the slur. The terminal `@code{)}' appears to the left of the
1204 first note in the slur. This makes it possible to put a note in
1205 slurs from both sides:
1207 @mudela[fragment,verbatim,center]
1208 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1214 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1215 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1216 @code{\decr}@keyindex{decr} and terminated with
1217 @code{\rced}@keyindex{rced}. There are also shorthands for these
1218 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1219 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1220 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1221 must go before the last note of the dynamic mark whereas @code{\rc}
1222 and @code{\rced} go after the last note. Because these marks are
1223 bound to notes, if you want to get several marks during one note, you
1224 must use spacer notes.
1226 @mudela[fragment,verbatim,center]
1227 c'' \< \! c'' d'' \decr e'' \rced
1228 < f''1 { s4 \< \! s2 \> \! s4 } >
1234 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1237 Define a spanning request. The @var{startstop} parameter is either -1
1238 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1239 @var{type} is a string that describes what should be started.
1240 Supported types are @code{crescendo}, @code{decrescendo},
1241 @code{beam}, @code{slur}. This is an internal command. Users should
1242 use the shorthands which are defined in the initialization file
1245 You can attach a (general) span request to a note using
1247 @mudela[fragment,verbatim,center]
1248 c'4-\spanrequest \start "slur"
1249 c'4-\spanrequest \stop "slur"
1252 The slur syntax with parentheses is a shorthand for this.
1256 @cindex tremolo marks
1258 @node tremolo, , , Reference Manual
1260 Tremolo marks can be printed on a single note by adding
1261 `@code{:}[@var{length}]' after the note. The length must be at
1262 least 8. A @var{length} value of 8 gives one line across
1263 the note stem. If the length is omitted, then the last value is
1264 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1267 @mudela[verbatim,fragment,center]
1273 @node Compound music expressions, , , Reference Manual
1274 @section Compound music expressions
1276 @cindex compound music expressions
1278 Music expressions are compound data structures. You can nest music
1279 expressions any way you like. This simple example shows how three
1280 chords can be expressed in two different ways:
1282 @mudela[fragment,verbatim,center]
1283 \notes \context Staff {
1285 <a c'> <b d' > <c' e'>
1286 < { a b c' } { c' d' e' } >
1290 @cindex context selection
1291 @c @keyindex{context}
1294 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1297 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1298 If the context does not exist, it will be created. The new context
1299 can optionally be given a name. See
1300 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1301 information on interpretation contexts.
1309 Mode switching keywords form compound music expressions: @code{\notes}
1310 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1311 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1312 These expressions do not add anything to the meaning of their
1313 arguments. They are just a way to indicate that the arguments should
1314 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1315 information on modes.
1317 More information on context selection can be found in
1318 section XREF-contextselection [FIXME].
1322 @cindex sequential music
1328 \sequential@keyindex{sequential}
1329 @code{@{} @var{musicexprlist} @code{@}}
1332 This means that list should be played or written in sequence, i.e.,
1333 the second after the first, the third after the second. The duration
1334 of sequential music is the the sum of the durations of the elements.
1335 There is a shorthand, which leaves out the keyword:
1339 @code{@{} @var{musicexprlist} @code{@}}
1344 @cindex simultaneous music
1351 \simultaneous@keyindex{simultaneous}
1352 @code{@{} @var{musicexprlist} @code{@}}
1355 It constructs a music expression where all of its arguments start at
1356 the same moment. The duration is the maximum of the durations of the
1357 elements. The following shorthand is a common idiom:
1361 @code{<} @var{musicexprlist} @code{>}
1364 If you try to use a chord as the first thing in your score, you might
1365 get multiple staffs instead of a chord.
1367 @mudela[verbatim,center]
1376 This happens because the chord is interpreted by a score context.
1377 Each time a note is encountered a default Voice context (along with a
1378 Staff context) is created. The solution is to explicitly instantiate
1381 @mudela[verbatim,center]
1383 \notes\context Voice <c''4 e''>
1392 @cindex relative pitch specification
1394 @node relative, , , Reference Manual
1396 It is easy to get confused by octave changing marks and accidentally
1397 putting a pitch in the wrong octave. A much better way of entering a
1398 note's octave is `the relative octave' mode.
1402 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1405 The octave of notes that appear in @var{musicexpr} are calculated as
1406 follows: If no octave changing marks are used, the basic interval
1407 between this and the last note is always taken to be a fourth or
1408 less.@footnote{The interval is determined without regarding
1409 accidentals. A @code{fisis} following a @code{ceses} will be put above
1410 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1411 can then be added to raise or lower the pitch by an extra octave.
1412 Upon entering relative mode, an absolute starting pitch must be
1413 specified that will act as the predecessor of the first note of
1416 Entering scales is straightforward in relative mode.
1418 @mudela[fragment,verbatim,center]
1424 And octave changing marks are used for intervals greater than a fourth.
1426 @mudela[fragment,verbatim,center]
1428 c g c f, c' a, e'' }
1431 If the preceding item is a chord, the first note of the chord is used
1432 to determine the first note of the next chord. But other notes
1433 within the second chord are determined by looking at the immediately
1436 @mudela[fragment,verbatim,center]
1444 The pitch after the @code{\relative} contains a notename. To parse
1445 the pitch as a notename, you have to be in note mode, so there must
1446 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1449 The relative conversion will not affect @code{\transpose} or
1450 @code{\relative} sections in its argument. If you want to use
1451 relative within transposed music, you must place an additional
1452 @code{\relative} inside the @code{\transpose}.
1454 It is strongly recommended to use relative pitch mode: less work,
1455 less error-prone, and more readable.
1459 Chord names are a way to generate simultaneous music expressions that
1460 correspond with traditional chord names. It can only be used in
1461 Chord mode (see section XREF-modes [FIXME]).
1465 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1468 @var{tonic} should be the tonic note of the chord, and @var{duration}
1469 is the chord duration in the usual notation. There are two kinds of
1470 modifiers. One type is @emph{chord additions}, which are obtained by
1471 listing intervals separated by dots. An interval is written by its
1472 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1473 lowering by half a step. Chord additions has two effects: It adds
1474 the specified interval and all lower odd numbered intervals to the
1475 chord, and it may lower or raise the specified interval. Intervals
1476 must be separated by a dot (`@code{.}').
1480 @mudela[fragment,verbatim]
1484 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1491 The second type of modifier that may appear after the `@code{:}' is a
1492 named modifier. Named modifiers are listed in the file
1493 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1494 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1495 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1496 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1497 which replaces the 5th with a 4th.
1501 @mudela[fragment,verbatim]
1504 c1:m c:min7 c:maj c:aug c:dim c:sus
1512 Chord subtractions are used to eliminate notes from a chord. The
1513 notes to be subtracted are listed after a `@code{^}' character,
1516 @mudela[fragment,verbatim,center]
1524 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1525 the name of a single note to a chord. This has the effect of
1526 lowering the specified note by an octave so it becomes the lowest
1527 note in the chord. If the specified note is not in the chord, a
1528 warning will be printed.
1530 @mudela[fragment,verbatim,center]
1539 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1540 the name of a single note to a chord. This has the effect of
1541 adding the specified note to the chord, lowered by an octave,
1542 so it becomes the lowest note in the chord.
1544 @mudela[fragment,verbatim,center]
1553 Throughout these examples, chords have been shifted around the staff
1554 using @code{\transpose}.
1556 You should not combine @code{\relative} with named chords.
1562 Tuplets are made out of a music expression by multiplying their
1563 duration with a fraction.
1567 \times@keyindex{times} @var{fraction} @var{musicexpr}
1570 The duration of @var{musicexpr} will be multiplied by the fraction.
1571 In print, the fraction's denominator will be printed over the notes,
1572 optionally with a bracket. The most common tuplet is the triplet in
1573 which 3 notes have the length of 2, so the notes are 2/3 of
1574 their written length:
1576 @mudela[fragment,verbatim,center]
1577 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1586 \grace@keyindex{grace} @var{musicexpr}
1589 A grace note expression has duration 0; the next real note is
1590 assumed to be the main note.
1592 You cannot have the grace note after the main note, in terms of
1593 duration, and main notes, but you can typeset the grace notes to the
1594 right of the main note using the property
1595 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1597 When grace music is interpreted, a score-within-a-score is set up:
1598 @var{musicexpr} has its own time bookkeeping, and you could (for
1599 example) have a separate time signature within grace notes. While in
1600 this score-within-a-score, you can create notes, beams, slurs, etc.
1601 Unbeamed eighth notes and shorter by default have a slash through the
1602 stem. This behavior can be controlled with the
1603 @code{stemStyle}@indexcode{stemStyle} property.
1607 @mudela[fragment,verbatim]
1609 \grace c8 c4 \grace { [c16 c16] } c4
1610 \grace { \property Grace.stemStyle = "" c16 } c4
1616 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1620 @code{\grace @{ \grace c32 c16 @} c4}
1623 may result in run-time errors of LilyPond. Since the meaning of such
1624 a construct is unclear, we don't consider this a loss. Similarly,
1625 juxtaposing two @code{\grace} sections is syntactically valid, but
1626 makes no sense and may cause runtime errors.
1628 Ending a staff or score with grace notes may also generate a run-time
1629 error, since there will be no main note to attach the grace notes to.
1635 @node Repeats, , , Reference Manual
1637 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1638 keyword. Since repeats look and sound differently when played or
1639 printed, there are a few different variants of repeats.
1643 Repeated music is fully written (played) out. Useful for MIDI
1647 This is the normal notation: Repeats are not written out, but
1648 alternative endings (voltas) are printed, left to right.
1651 Alternative endings are written stacked, which is useful for
1655 The syntax for repeats is
1659 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1662 If you have alternative endings, you may add
1666 \alternative@keyindex{alternative}
1667 @code{@{} @var{alternative1}
1669 @var{alternative3} @dots{} @code{@}}
1672 where each @var{alternative} is a Music expression.
1674 Normal notation repeats are used like this:
1678 @mudela[fragment,verbatim]
1680 \repeat volta 2 { c'4 d' e' f' }
1681 \repeat volta 2 { f' e' d' c' }
1686 With alternative endings:
1690 @mudela[fragment,verbatim]
1692 \repeat volta 2 {c'4 d' e' f'}
1693 \alternative { {d'2 d'} {f' f} }
1698 Folded repeats look like this:@footnote{Folded repeats offer little
1699 more over simultaneous music. However, it is to be expected that
1700 more functionality -- especially for the MIDI backend -- will be
1705 @mudela[fragment,verbatim]
1707 \repeat fold 2 {c'4 d' e' f'}
1708 \alternative { {d'2 d'} {f' f} }
1715 @mudela[fragment,verbatim]
1719 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1720 \alternative { { g4 g g } { a | a a a a | b1 } }
1727 If you don't give enough alternatives for all of the repeats, then
1728 the first alternative is assumed to be repeated often enough to equal
1729 the specified number of repeats.
1733 @mudela[fragment,verbatim]
1736 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1737 \alternative { { g4 g g }
1738 {\partial 1; e4 e e }
1739 {\partial 1; a a a a | b1 } }
1746 It is possible to nest @code{\repeat}. This is not entirely
1747 supported: the notes will come be in the right places, but the repeat
1752 @cindex transposition of pitches
1754 @node transpose, , , Reference Manual
1756 A music expression can be transposed with
1757 @code{\transpose}@keyindex{transpose}. The syntax is
1761 \transpose @var{pitch} @var{musicexpr}
1764 This means that middle C in @var{musicexpr} is transposed to
1767 @code{\transpose} distinguishes between enharmonic pitches: both
1768 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1769 a tone. The first version will print sharps and the second version
1774 @mudela[fragment,verbatim]
1779 \transpose des'' { \key e; c d e f }
1780 \transpose cis'' { \key e; c d e f }
1786 If you want to use both @code{\transpose} and @code{\relative}, then
1787 you must use @code{\transpose} first. @code{\relative} will have no
1788 effect music that appears inside a @code{\transpose}.
1792 @cindex automatic lyric durations
1794 If you have lyrics that are set to a melody, you can import the
1795 rhythm of that melody into the lyrics using @code{\addlyrics}.
1796 @keyindex{addlyrics} The syntax for this is
1800 \addlyrics @var{musicexpr1 musicexpr2}
1803 This means that both @var{musicexpr1} and @var{musicexpr2} are
1804 interpreted, but that every non-command atomic music expression
1805 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1806 of @var{musicexpr1}.
1808 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1809 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1814 @mudela[verbatim,fragment]
1817 \property Voice.automaticMelismata = "1"
1818 c8 () cis d8. e16 f2
1820 \context Lyrics \lyrics {
1826 You should use a single rhythm melody, and single rhythm lyrics (a
1827 constant duration is the obvious choice). If you do not, you will get
1828 undesired effects when using multiple stanzas:
1832 @mudela[verbatim,fragment]
1835 c8 () cis d8. e16 f2
1837 \context Lyrics \lyrics
1844 It is valid (but probably not very useful) to use notes instead of
1845 lyrics for @var{musicexpr2}.
1850 @node Ambiguities, , , Reference Manual
1851 @section Ambiguities
1855 The grammar contains a number of ambiguities.@footnote{The authors
1856 hope to resolve them at a later time.}
1859 @item The assignment
1865 can be interpreted as making a string identifier @code{\foo}
1866 containing @code{"bar"}, or a music identifier @code{\foo}
1867 containing the syllable `bar'.
1869 @item The assignment
1875 can be interpreted as making an integer identifier
1876 containing -6, or a Request identifier containing the
1877 fingering `6' (with neutral direction).
1879 @item If you do a nested repeat like
1891 then it is ambiguous to which @code{\repeat} the
1892 @code{\alternative} belongs. This is the classic if-then-else
1893 dilemma. It may be solved by using braces.
1895 @item (an as yet unidentified ambiguity :-)
1900 @node Notation conversion specifics, , , Reference Manual
1901 @section Notation conversion specifics
1905 @cindex automatic beam generation
1907 @node autobeam, , , Reference Manual
1909 By default, LilyPond will generate beams automatically. This feature
1910 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1911 property to 1. It can be overridden for specific cases by
1912 specifying explicit beams as described in
1913 section XREF-manualbeam [FIXME].
1915 A large number of Voice properties are used to decide how to generate
1916 beams. Their default values appear in @file{auto-beam-settings.ly}.
1917 In general, beams can begin anywhere, but their ending location is
1918 significant. Beams can end on a beat, or at durations specified by
1919 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1920 quarter note, for example, you could set
1921 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1922 at every three eighth notes you would set it to `@code{"3/8"}'. The
1923 same syntax can be used to specify beam starting points using
1924 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1926 To allow different settings for different time signatures, these
1927 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1928 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1929 to specify beams ending only for 6/8 time you would use the
1930 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1931 for notes of different durations, the duration can be tacked onto the
1932 end of the property. To specify beam endings for beams that contain
1933 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1941 @cindex printing!chord names
1943 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1944 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1945 either using the notation described above, or directly using
1950 @mudela[fragment,verbatim]
1952 \context ChordNames {
1953 \chords{a b c} \notes{<d f g> <e g b>}
1955 \context Staff \notes {
1963 LilyPond examines chords specified as lists of notes to determine a
1964 name to give the chord. By default, LilyPond will not try to
1965 identify chord inversions:
1967 @mudela[fragment,verbatim,center]
1969 \context ChordNameVoice \notes {
1972 \context Thread \notes {
1978 If you want inversions to be recognized, you must set the property
1979 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1981 @mudela[fragment,verbatim,center]
1983 \property Score.chordInversion = 1
1984 \context ChordNameVoice \notes {
1987 \context Thread \notes {
1997 @cindex printing!lyrics
1999 @node lyricprint, , , Reference Manual
2001 Lyric syllables must be interpreted within a @code{Lyrics} context
2003 @cindex context!Lyrics
2006 Here is a full example:
2013 \notes \transpose c'' {
2015 e f g2 | e4 f g2 \bar "|.";
2017 \context Lyrics \lyrics {
2018 Va-4 der Ja- cob Va- der Ja- cob
2019 Slaapt gij nog?2 Slaapt4 gij nog?2
2027 You may want a continuous line after the syllables to show melismata.
2028 To achieve this effect, add a `@code{__}' lyric as a separate word
2029 after the lyric to be extended. This will create an extender, a line
2030 that extends over the entire duration of the lyric. This line will
2031 run all the way to the start of the next lyric, so you may want to
2032 shorten it by using a blank lyric (using `@code{_}').
2039 \notes \relative c'' {
2040 a4 () b () c () d | c () d () b () a | c () d () b () a
2042 \context Lyrics \lyrics {
2043 foo1 __ | bar2. __ _4 | baz1 __
2052 If you want to have hyphens centered between syllables (rather than
2053 attached to the end of the first syllable) you can use the special
2054 `@code{-}@code{-}' lyric as a separate word between syllables. This
2055 will result in a hyphen which length varies depending on the space
2056 between syllables, and which will be centered between the syllables.
2064 \notes \transpose c'' {
2066 e f g2 | e4 f g2 \bar "|.";
2068 \context Lyrics \lyrics {
2069 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2070 Slaapt gij nog?2 | Slaapt4 gij nog?2
2080 @node Notation Contexts, , , Reference Manual
2081 @section Notation Contexts
2083 @cindex notation contexts
2085 Notation contexts are objects that only exist during a run of
2086 LilyPond. During the interpretation phase of LilyPond, the Music
2087 expression contained in a @code{\score} block is interpreted in time
2088 order. This is the order in which humans read, play, and write
2091 A context is an object that holds the reading state of the
2092 expression; it contains information like
2095 @item What notes are playing at this point?
2096 @item What symbols will be printed at this point?
2097 @item In what style will they printed?
2098 @item What is the current key signature, time signature, point within
2102 Contexts are grouped hierarchically: A @code{Voice} context is
2103 contained in a @code{Staff} context (because a staff can contain
2104 multiple voices at any point), a @code{Staff} context is contained in
2105 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2106 these can all contain multiple staffs).
2108 Contexts associated with sheet music output are called @emph{notation
2109 contexts}, those for sound output are called playing contexts.
2111 Contexts are created either manually or automatically. Initially,
2112 the top level music expression is interpreted by the top level
2113 context (the @code{Score} context). When a atomic music expression
2114 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2115 set of contexts is created that can process these atomic expressions,
2121 \score @{ \notes < c4 > @}
2126 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2127 context. When the note `@code{c4}' itself is interpreted, a set of
2128 contexts is needed that will accept notes. The default for this is a
2129 @code{Voice} context, contained in a @code{Staff} context. Creation of
2130 these contexts results in the staff being printed.
2135 You can also create contexts manually, and you probably have to do so
2136 if you want to typeset complicated multiple part material. If a
2137 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2138 during the interpretation phase, the @var{musicexpr} argument will be
2139 interpreted with a context of type @var{name}. If you specify a name,
2140 the specific context with that name is searched.
2142 If a context of the specified type and name can not be found, a new
2143 one is created. For example,
2149 \notes \relative c'' {
2150 c4 <d4 \context Staff = "another" e4> f
2157 In this example, the @code{c} and @code{d} are printed on the
2158 default staff. For the @code{e}, a context Staff called
2159 `@code{another}' is specified; since that does not exist, a new
2160 context is created. Within @code{another}, a (default) Voice context
2161 is created for the @code{e4}. When all music referring to a
2162 context is finished, the context is ended as well. So after the
2163 third quarter, @code{another} is removed.
2165 Almost all music expressions inherit their interpretation context
2166 from their parent. In other words, suppose that the syntax for a
2171 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2174 When the interpretation of this music expression starts, the context
2175 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2178 Lastly, you may wonder, why this:
2184 \notes \relative c'' @{
2192 doesn't result in this:
2197 \notes \relative c'' {
2204 For the @code{c4}, a default @code{Staff} (with a contained
2205 @code{Voice}) context is created. After the @code{c4} ends, no
2206 music refers to this default staff, so it would be ended, with the
2207 result shown. To prevent this inconvenient behavior, the context to
2208 which the sequential music refers is adjusted during the
2209 interpretation. So after the @code{c4} ends, the context of the
2210 sequential music is also the default @code{Voice} context.
2211 The @code{d4} gets interpreted in the same context
2216 These are the contexts supplied with the package. They are defined
2217 in the initialization file @file{ly/engraver.ly}.
2220 @item @code{Grace}@indexcode{Grace}
2221 The context for handling grace notes. It is instantiated
2222 automatically when you use @code{\grace}. Basically, it is an
2223 `embedded' miniature of the Score context. Since this context
2224 needs special interaction with the rest of LilyPond, you should
2225 not explicitly instantiate it.
2227 @item @code{LyricVoice}@indexcode{LyricVoice}
2228 Corresponds to a voice with lyrics. Handles the printing of a
2229 single line of lyrics.
2231 @item @code{Thread}@indexcode{Thread}
2232 Handles note heads, and is contained in the Voice context. You
2233 have to instantiate this explicitly if you want to adjust the
2234 style of individual note heads.
2236 @item @code{Voice}@indexcode{Voice}
2237 Corresponds to a voice on a staff. This context handles the
2238 conversion of dynamic signs, stems, beams, super- and subscripts,
2239 slurs, ties, and rests.
2241 You have to instantiate this explicitly if you want to have
2242 multiple voices on the same staff.
2244 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2245 A voice with chord names. Handles printing of a line of chord
2248 @item @code{ChordNames}@indexcode{ChordNames}
2249 Typesets chord names. Can contain @code{ChordNamesVoice}
2252 @item @code{Lyrics}@indexcode{Lyrics}
2253 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2255 @item @code{Staff}@indexcode{Staff}
2256 Handles clefs, bar lines, keys, accidentals. It can contain
2257 @code{Voice} contexts.
2259 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2260 A context like @code{Staff} but for printing rhythms. Pitches are
2261 ignored; the notes are printed on one line. It can contain
2262 @code{Voice} contexts.
2264 @item @code{GrandStaff}@indexcode{GrandStaff}
2265 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2266 brace on the left side, grouping the staffs together. The bar
2267 lines of the contained staffs are connected vertically. It can
2268 contain @code{Staff} contexts.
2270 @item @code{PianoStaff}@indexcode{PianoStaff}
2271 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2272 equal to @code{maxVerticalAlign} so that interstaff beaming and
2273 slurring can be used.
2275 @item @code{StaffGroup}@indexcode{StaffGroup}
2276 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2277 bracket on the left side, grouping the staffs together. The bar
2278 lines of the contained staffs are connected vertically. It can
2279 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2280 @code{Lyrics} contexts.
2282 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2283 Identical to @code{StaffGroup} except that the contained staffs
2284 are not connected vertically.
2286 @item @code{Score}@indexcode{Score}
2287 This is the top level notation context. No other context can
2288 contain a @code{Score} context. This context handles the
2289 administration of time signatures. It also makes sure that items
2290 such as clefs, time signatures, and key-signatures are aligned
2291 across staffs. It can contain @code{Lyrics}, @code{Staff},
2292 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2293 @code{ChoirStaff} contexts.
2295 You cannot explicitly instantiate a Score context (since it is
2296 not contained in any other context). It is instantiated
2297 automatically when an output definition (a @code{\score} or
2298 @code{\paper} block) is processed.
2303 Properties that are set in one context are inherited by all of the
2304 contained contexts. This means that a property valid for the
2305 @code{Voice} context can be set in the @code{Score} context (for
2306 example) and thus take effect in all @code{Voice} contexts.
2308 Properties can be preset within the @code{\translator} block
2309 corresponding to the appropriate context. In this case, the syntax
2314 @var{propname} @code{=} @var{value}
2317 This assignment happens before interpretation starts, so a
2318 @code{\property} expression will override any predefined settings.
2320 The @code{\property} expression will create any property you specify.
2321 There is no guarantee that a property will be used. So if you spell
2322 a property name wrong, there will be no error message.
2324 The property settings are used during the interpretation phase. They
2325 are read by the LilyPond modules where interpretation contexts are
2326 built of. These modules are called @emph{translators}. Translators for
2327 notation are called @emph{engravers}, and translators for sound are
2328 called @emph{performers}.
2330 The precise result of a property is determined by the implementation
2331 of the translator that reads them. Therefore, the result of a
2332 property can vary, since it is implementation and configuration
2335 In order to fully find out what properties are used, you must
2336 currently search the source code for calls to @code{get_property}.
2337 The rest of the section is devoted to an (incomplete) overview of
2338 available properties.
2340 @mbinclude properties.itely
2342 @node Notation output definitions, , , Reference Manual
2343 @section Notation output definitions
2347 @cindex notation output
2349 @cindex output definition
2351 @node paper, , , Reference Manual
2353 The most important output definition is the @code{\paper} block, for
2354 music notation. The syntax is
2358 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2361 where each of the items is one of
2364 @item An assignment. The assignment must be terminated by a
2365 semicolon. See section XREF-papervars [FIXME] for information on
2368 @item A context definition. See section XREF-contextdefs [FIXME] for
2369 more information on context definitions.
2374 A margin shape declaration. The syntax is
2378 \shape @var{indent1}@code{,} @var{width1}@code{,}
2379 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2384 Each pair of @var{indent} and @var{width} values is a dimension
2385 specifying how far to indent and how wide to make the line.
2386 The indentation and width of successive lines are specified by
2387 the successive pairs of dimensions. The last pair of
2388 dimensions will define the characeristics of all lines beyond
2389 those explicitly specified.
2391 @item A font declaration. Its syntax is
2395 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2398 @var{fontsize} is an integer describing the font to be used.
2399 0 is the default font. @var{fontname} is the basename of
2400 a font (usually a member of the Feta family).
2405 @cindex changing font size and paper size
2407 The Feta font provides musical symbols at six different sizes. These
2408 fonts are 11 point, 13 point, 16 point, 20 point,
2409 23 point, and 26 point. The point size of a font is the
2410 height of the five lines in a staff when displayed in the font.
2412 Definitions for these sizes are the files @file{paperSZ.ly}, where
2413 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2414 any of these files, the identifiers @code{paper_eleven},
2415 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2416 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2417 respectively. The default @code{\paper} block is also set.
2419 To change the paper size, you must first set the
2420 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2421 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2422 you must set the font as described above. If you want the default
2423 font, then use the 20 point font. The new paper size will not
2424 take effect if the font is not loaded and selected afterwards. Paper
2425 size selection works by loading a file named after the paper size you
2430 @cindex paper variables
2432 @node Paper variables, , , Reference Manual
2434 There is a large number of paper variables that are used to control
2435 details of the layout. These variables control the defaults for the
2436 entire score. Usually, they do not have to be changed; they are by
2437 default set to values that depend on the font size in use. The
2438 values are used by the graphic objects while formatting the score;
2439 they are therefore implementation dependent. Most variables are
2440 accompanied by documentation in the initalization file
2441 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2444 Nevertheless, here are some variables you may want to use or change:
2447 @item @code{indent}@indexcode{indent}
2448 The indentation of the first line of music.
2450 @item @code{interline}@indexcode{interline}
2451 The distance between two staff lines, calculated from the center
2452 of the lines. You should use either this or @code{rulethickness}
2453 as a unit for distances you modify.
2455 @item @code{linewidth}@indexcode{linewidth}
2456 Sets the width of the lines. If set to -1.0, a single
2457 unjustified line is produced.
2459 @item @code{output}@indexcode{output}
2460 Specifies an alternate name for the the output @file{s}.
2461 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2462 added to the string you specify.
2464 @item @code{rulethickness}@indexcode{rulethickness}
2465 Determines the thickness of staff and bar lines.
2469 @node contextdefs, , , Reference Manual
2471 @cindex context definition
2473 A notation contexts is defined by the following information
2478 @item The LilyPond modules that do the actual conversion of music to
2479 notation. Each module is a so-called
2484 @item How these modules should cooperate, i.e. which ``cooperation
2485 module'' should be used. This cooperation module is a special
2488 @item What other contexts the context can contain,
2490 @item What properties are defined.
2493 A context definition has this syntax:
2497 \translator @code{@{}
2498 @var{translatorinit} @var{translatormodifierlist}
2502 @var{translatorinit} can be an identifier or of the form
2506 \type @var{typename} @code{;}
2509 @var{typename} is one of
2512 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2513 The standard cooperation engraver.
2515 @item @code{Score_engraver}@indexcode{Score_engraver}
2516 This is cooperation module that should be in the top level context.
2518 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2519 This is a special cooperation module (resembling
2520 @code{Score_engraver}) that is used to created an embedded
2524 @var{translatormodifierlist} is a list of items where each item is
2528 @item @code{\consists} @var{engravername} @code{;}
2529 Add @var{engravername} to the list of modules in this context.
2530 Section XREF-engravers [FIXME] contains an overview of the engravers
2531 available. The order of engravers added with @code{\consists} is
2534 @item @code{\consistsend} @var{engravername} @code{;}
2535 Analogous to @code{\consists}, but makes sure that
2536 @var{engravername} is always added to the end of the list of
2539 Some engraver types need to be at the end of the list; this
2540 insures they are put there, and stay there, if a user adds or
2541 removes engravers. This command is usually not needed for
2544 @item @code{\accepts} @var{contextname} @code{;}
2545 Add @var{contextname} to the list of context this context can
2546 contain. The first listed context the context to create by
2549 @item @code{\remove} @var{engravername} @code{;}
2550 Remove a previously added (with @code{\consists}) engraver.
2552 @item @code{\name} @var{contextname} @code{;}
2553 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2554 the name is not specified, the translator won't do anything.
2556 @item @var{propname} @code{=} @var{value} @code{;}
2557 A property assignment. It is allowed to use reals for
2561 In the @code{\paper} block, it is also possible to define translator
2562 identifiers. Like other block identifiers, the identifier can only
2563 be used as the very first item of a translator. In order to define
2564 such an identifier outside of @code{\score}, you must do
2570 foo = \translator @{ @dots{} @}
2577 \translator @{ \foo @dots{} @}
2585 @cindex paper types, engravers, and pre-defined translators
2587 Some pre-defined identifiers can simplify modification of
2588 translators. The pre-defined identifiers are:
2591 @item @code{StaffContext}@indexcode{StaffContext}
2592 Default Staff context.
2594 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2595 Default RhythmicStaff context.
2597 @item @code{VoiceContext}@indexcode{VoiceContext}
2598 Default Voice context.
2600 @item @code{ScoreContext}@indexcode{ScoreContext}
2601 Default Score context.
2603 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2604 Score context with numbering at the Score level.
2606 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2607 Staff context with numbering at the Staff level.
2609 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2610 Staff context that does not print if it only contains rests.
2611 Useful for orchestral scores.@footnote{Harakiri, also called
2612 Seppuku, is the ritual suicide of the Samourai.}
2614 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2616 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2619 Using these pre-defined values, you can remove or add items to the
2628 \remove Some_engraver;
2629 \consists Different_engraver;
2638 @node engravers, , , Reference Manual
2640 The engravers for paper output are:
2645 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2646 Engraves bar lines. Normally in @code{Staff} and
2647 @code{RhythmicStaff}.
2649 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2650 Engrave bar numbers. These numbers appear at the start of each
2651 line. Not normally in any translator. Can be added to
2652 @code{Score} for score-wide numbering or to @code{Staff} for
2653 numbering on each staff.
2655 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2656 Handles beam requests by engraving beams. Normally appears in
2657 the @code{Voice} translator. If omitted, then notes will be
2658 printed with flags instead of beams.
2660 @item @code{Beam_req_swallow_translator}
2661 @indexcode{Beam_req_swallow_translator}
2662 Swallows beam requests. In @code{LyricVoice}.
2664 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2665 Engraves chord names. Normally in @code{ChordNameVoice} .
2667 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2669 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2670 Engraves the clef symbol. Normally in @code{Staff}.
2672 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2674 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2675 Engraves dots on dotted notes shifted to the right of the note.
2676 Normally in @code{Voice}. If omitted, then dots appear on top of
2679 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2680 Engraves dynamics symbols. Normally in @code{Voice}.
2682 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2684 @item @code{Key_engraver}@indexcode{Key_engraver}
2685 Engraves the key signature. Normally in @code{Staff}.
2687 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2689 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2690 Engraves lyrics. Normally in @code{LyricVoice}.
2692 @item @code{Multi_measure_rest_engraver}
2693 @indexcode{Multi_measure_rest_engraver}
2694 Engraves multi-measure rests that are produced with @code{R}.
2695 Normally in @code{Voice}.
2697 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2699 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2700 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2701 Note that the notes move, but the locations of accidentals stay
2704 @item @code{Priority_horizontal_align_engraver}
2705 @indexcode{Priority_horizontal_align_engraver}
2707 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2708 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2710 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2711 Handles collisions of rests. In @code{Staff}.
2713 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2714 Engraves rests. Normally in @code{Voice}.
2716 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2718 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2720 @item @code{Script_engraver}@indexcode{Script_engraver}
2721 Handles note ornaments generated by @code{\script}. Normally in
2724 @item @code{Separating_line_group_engraver}
2725 @indexcode{Separating_line_group_engraver}
2727 @item @code{Skip_req_swallow_translator}
2728 @indexcode{Skip_req_swallow_translator}
2730 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2731 Engraves slurs. Normally in @code{Voice}.
2733 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2734 Engraves lines across multiple staffs. Normally in
2735 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2736 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2738 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2740 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2742 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2743 Prints the name of the instrument (specified by
2744 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2747 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2749 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2750 Engraves stems. Normally in @code{Voice}.
2752 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2753 Engraves ties. Normally in @code{Voice}.
2755 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2756 Engraves the time signature. Normally in @code{Staff} and
2757 @code{RhythmicStaff}.
2759 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2760 Responsible for synchronizing timing information from staffs.
2761 Normally in @code{Score}. In order to create polyrhythmic music,
2762 this engraver should be removed from @code{Score} and placed in
2765 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2766 Engraves tuplet brackets? In @code{Staff}.
2768 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2773 @node Sound output, , , Reference Manual
2774 @section Sound output
2778 The MIDI block is analogous to the paper block, but it is simpler.
2779 The @code{\midi} block can contain:
2783 @item a @code{\tempo} definition
2784 @item context definitions
2787 Assignments in the @code{\midi} block are not allowed.
2791 @cindex context definition
2793 Context definitions follow precisely the same syntax as within the
2794 \paper block. Translation modules for sound are called performers.
2795 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2799 @cindex MIDI instrument names
2801 @node midilist, , , Reference Manual
2803 The MIDI instrument name is set by the
2804 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2805 if that property is not set, the
2806 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2807 instrument name should be chosen from the following list. If the
2808 selected string does not exactly match, then LilyPond uses the default
2815 "acoustic grand" "contrabass" "lead 7 (fifths)"
2816 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2817 "electric grand" "pizzicato strings" "pad 1 (new age)"
2818 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2819 "electric piano 1" "timpani" "pad 3 (polysynth)"
2820 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2821 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2822 "clav" "synthstrings 1" "pad 6 (metallic)"
2823 "celesta" "synthstrings 2" "pad 7 (halo)"
2824 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2825 "music box" "voice oohs" "fx 1 (rain)"
2826 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2827 "marimba" "orchestra hit" "fx 3 (crystal)"
2828 "xylophone" "trumpet" "fx 4 (atmosphere)"
2829 "tubular bells" "trombone" "fx 5 (brightness)"
2830 "dulcimer" "tuba" "fx 6 (goblins)"
2831 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2832 "percussive organ" "french horn" "fx 8 (sci-fi)"
2833 "rock organ" "brass section" "sitar"
2834 "church organ" "synthbrass 1" "banjo"
2835 "reed organ" "synthbrass 2" "shamisen"
2836 "accordion" "soprano sax" "koto"
2837 "harmonica" "alto sax" "kalimba"
2838 "concertina" "tenor sax" "bagpipe"
2839 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2840 "acoustic guitar (steel)" "oboe" "shanai"
2841 "electric guitar (jazz)" "english horn" "tinkle bell"
2842 "electric guitar (clean)" "bassoon" "agogo"
2843 "electric guitar (muted)" "clarinet" "steel drums"
2844 "overdriven guitar" "piccolo" "woodblock"
2845 "distorted guitar" "flute" "taiko drum"
2846 "guitar harmonics" "recorder" "melodic tom"
2847 "acoustic bass" "pan flute" "synth drum"
2848 "electric bass (finger)" "blown bottle" "reverse cymbal"
2849 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2850 "fretless bass" "whistle" "breath noise"
2851 "slap bass 1" "ocarina" "seashore"
2852 "slap bass 2" "lead 1 (square)" "bird tweet"
2853 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2854 "synth bass 2" "lead 3 (calliope)" "helicopter"
2855 "violin" "lead 4 (chiff)" "applause"
2856 "viola" "lead 5 (charang)" "gunshot"
2857 "cello" "lead 6 (voice)"
2863 @cindex MIDI types and performers
2865 The types available for MIDI translators are:
2868 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2869 @item @code{Score_performer}@indexcode{Score_performer}
2870 @item @code{Staff_performer}@indexcode{Staff_performer}
2873 The performers for MIDI translators are:
2876 @item @code{Key_performer}@indexcode{Key_performer}
2877 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2878 @item @code{Note_performer}@indexcode{Note_performer}
2879 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2880 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2885 @node Pre-defined Identifiers, , , Reference Manual
2887 @section Pre-defined Identifiers
2889 @cindex pre-defined identifiers
2892 Various identifiers are defined in the initialization files to
2893 provide shorthands for some settings. Most of them are in
2894 @file{ly/declarations.ly}.
2897 @item @code{\break}@keyindex{break}
2898 Force a line break in music by using a large argument for the
2899 keyword @code{\penalty}.
2901 @item @code{\center}@keyindex{center}
2902 Used for setting direction properties. Equals 0.
2904 @item @code{\down}@keyindex{down}
2905 Used for setting direction setting properties. Is equal
2908 @item @code{\free}@keyindex{free}
2909 Used for setting direction setting properties. Is equal
2912 @item @code{\left}@keyindex{left}
2913 Used for setting text alignment property. Is equal to -1.
2915 @item @code{\nobreak}@keyindex{nobreak}
2916 Prevent a line break in music by using a large negative argument
2917 for the keyword @code{\penalty}.
2919 @item @code{\none}@keyindex{none}
2920 Used for setting @code{Score.beamslopedamping} and
2921 @code{Score.beamquantisation} properties. Is equal to 0.
2923 @item @code{\normal}@keyindex{normal}
2924 Used for setting @code{Score.beamslopedamping} and
2925 @code{Score.beamquantisation} properties. Is equal to 1.
2927 @item @code{\normalkey}@keyindex{normalkey}
2928 Select normal key signatures where each octave has the same key
2929 signature. This sets the @code{Staff.keyoctaviation} property.
2931 @item @code{\right}@keyindex{right}
2932 Used for setting text alignment property. Is set to 1.
2934 @item @code{\shiftoff}@keyindex{shiftoff}
2935 Disable horizontal shifting of note heads that collide. Sets the
2936 @code{Voice.horizontalNoteShift} property.
2938 @item @code{\shifton}@keyindex{shifton}
2939 Enable note heads that collide with other note heads to be
2940 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2943 @item @code{\slurboth}@keyindex{slurboth}
2944 Allow slurs to be above or below notes. This sets the
2945 @code{Voice.slurVerticalDirection} property.
2947 @item @code{\slurdown}@keyindex{slurdown}
2948 Force slurs to be below notes. This sets the
2949 @code{Voice.slurVerticalDirection} property.
2951 @item @code{\slurup}@keyindex{slurup}
2952 Force slurs to be above notes. This sets the
2953 @code{Voice.slurVerticalDirection} property.
2955 @item @code{\specialkey}@keyindex{specialkey}
2956 Allow key signatures do differ in different octaves. This sets
2957 the @code{Staff.keyoctaviation} property.
2959 @item @code{\stemboth}@keyindex{stemboth}
2960 Allow stems, beams, and slurs to point either upwards or
2961 downwards, decided automatically by LilyPond. This sets the
2962 @code{Voice.verticalDirection} property.
2964 @item @code{\stemdown}@keyindex{stemdown}
2965 Force stems, beams, and slurs to point down. This sets the
2966 @code{Voice.verticalDirection} property.
2968 @item @code{\stemup}@keyindex{stemup}
2969 Force stems, beams and slurs to point up. This sets the
2970 @code{Voice.verticalDirection} property.
2972 @item @code{\traditional}@keyindex{traditional}
2973 Used for setting the @code{Score.beamquantisation} property. Is
2976 @item @code{\up}@keyindex{up}
2977 Used for setting various direction properties. Is equal