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
10 @node Reference Manual
11 @chapter Reference Manual
17 * Note specification::
34 describes the the GNU LilyPond input format This format represents a
35 piece of music in an elegant way, but contains enough information for
36 both automatic typesetting and automatic performances.
38 This document has been revised for LilyPond 1.3.125
42 There are two things to note here. The format contains musical
43 concepts like pitches and durations, instead of symbols and positions:
44 the input format tries to capture the meaning of @emph{music}, and not
45 notation. Second, the format tries to be @emph{context-free}:
46 a note will sound the same regardless of the current time signature,
49 The purpose of LilyPond is explained informally by the term `music
50 typesetter'. This is not a fully correct name: not only does the
51 program print musical symbols, it also makes esthetic decisions. All
52 symbols and their placement is @emph{generated} from a high-level musical
53 description. In other words, LilyPond would be best
54 described by `music compiler' or `music to notation compiler'.
56 LilyPond input can be classified into three types:
58 @item musical expressions: a musical expression is some combination of
60 @item output definitions: recipes for translating those musical
61 expressions into performances (MIDI) or graphics (eg. PostScript).
63 @item declarations: by declaring and naming musical expressions, you
64 can enter and edit them in manageable chunks.
68 @c. {Music constructs}
69 @node Music constructs
70 @section Music constructs
71 @cindex Music constructs
75 * Simultanious music::
76 * Compound music expressions::
78 * Explicit atomic music::
81 @c. {Music expressions}
82 @node Music expressions
83 @subsection Music expressions
85 @cindex music expressions
87 Music in LilyPond is entered as a music expression. Notes, rests,
88 lyric syllables are music expressions (the atomic
90 @cindex atomic music expressions
91 and you can combine music expressions to form new ones. This example
92 forms a compound expressions out of the quarter @code{c} note and a
96 \sequential @{ c4 d4 @}
99 The meaning of this compound expression is to play the @code{c}
100 first, and then the @code{d} (as opposed to playing them
101 simultaneously, for instance).
103 Atomic music expression are discussed in
104 subsection @ref{Atomic music expressions}. Compound music expressions are
105 discussed in subsection @ref{Compound music expressions}.
108 @c. {Sequential music}
109 @node Sequential music
110 @subsection Sequential music
111 @cindex Sequential music
112 @cindex @code{\sequential}
113 @cindex sequential music
116 \sequential @code{@{} @var{musicexprlist} @code{@}}
119 This means that list should be played or written in sequence, i.e.,
120 the second after the first, the third after the second. The duration
121 of sequential music is the the sum of the durations of the elements.
122 There is a shorthand, which leaves out the keyword:
128 @code{@{} @var{musicexprlist} @code{@}}
131 @c. {Simultanious music}
132 @node Simultanious music
133 @subsection Simultanious music
134 @cindex Simultanious music
135 @cindex @code{\simultaneous}
138 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
141 It constructs a music expression where all of its arguments start at
142 the same moment. The duration is the maximum of the durations of the
143 elements. The following shorthand is a common idiom:
146 @code{<} @var{musicexprlist} @code{>}
149 If you try to use a chord as the first thing in your score, you might
150 get multiple staffs instead of a chord.
152 @lilypond[verbatim,center]
161 This happens because the chord is interpreted by a score context.
162 Each time a note is encountered a default Voice context (along with a
163 Staff context) is created. The solution is to explicitly instantiate
166 @lilypond[verbatim,center]
168 \notes\context Voice <c''4 e''>
175 @c. {Compound music expressions}
176 @node Compound music expressions
177 @subsection Compound music expressions
179 @cindex Compound music expressions
181 Music expressions are compound data structures. You can nest music
182 expressions any way you like. This simple example shows how three
183 chords can be expressed in two different ways:
185 @lilypond[fragment,verbatim,center]
186 \notes \context Staff {
187 <a c'> <b d' > <c' e'>
188 < { a b c' } { c' d' e' } >
193 @cindex @code{\context}
194 @cindex context selection
197 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
200 Interpret @var{musicexpr} within a context of type @var{contexttype}.
201 If the context does not exist, it will be created. The new context
202 can optionally be given a name.
205 @c. {Grace music} <-> Grace notes
207 @subsection Grace music
209 @cindex @code{\grace}
212 @cindex @code{graceAlignPosition}
215 \grace @var{musicexpr}
218 A grace note expression has duration 0; the next real note is
219 assumed to be the main note.
221 You cannot have the grace note after the main note, in terms of
222 duration, and main notes, but you can typeset the grace notes to the
223 right of the main note using the property
224 @code{graceAlignPosition}.
225 @cindex @code{flagStyle}
227 When grace music is interpreted, a score-within-a-score is set up:
228 @var{musicexpr} has its own time bookkeeping, and you could (for
229 example) have a separate time signature within grace notes. While in
230 this score-within-a-score, you can create notes, beams, slurs, etc.
231 Unbeamed eighth notes and shorter by default have a slash through the
232 stem. This behavior can be controlled with the
233 @code{flagStyle} property.
236 @lilypond[fragment,verbatim]
238 \grace c8 c4 \grace { [c16 c16] } c4
239 \grace { \property Grace.flagStyle = "" c16 } c4
244 @cindex @code{\grace}
246 At present, nesting @code{\grace} notes is not supported. The following
247 may cause run-time errors:
249 @code{\grace @{ \grace c32 c16 @} c4}
251 Since the meaning of such a construct is unclear, we don't consider
252 this a loss. Similarly, juxtaposing two @code{\grace} sections is
253 syntactically valid, but makes no sense and may cause runtime errors.
255 Ending a staff or score with grace notes may also generate a run-time
256 error, since there will be no main note to attach the grace notes to.
258 The present implementation is not robust and generally kludgy. We expect
259 it to change after LilyPond 1.4
262 @c. {Explicit atomic music}
263 @node Explicit atomic music
264 @subsection Explicit atomic music
265 @cindex Explicit atomic music
270 The syntax for pitch specification is
272 @cindex @code{\pitch}
274 \pitch @var{scmpitch}
277 @var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
279 In Note and Chord mode, pitches may be designated by names. See
280 section @ref{Other languages} for pitch names in different languages.
283 @cindex @code{\duration}
285 The syntax for duration specification is
287 \duration @var{scmduration}
290 In Note, Chord, and Lyrics mode, durations may be designated by
296 @c. {Modifying music}
297 @node Modifying music
298 @section Modifying music
299 @cindex Modifying music
313 @cindex relative octave specification
315 It is easy to get confused by octave changing marks and accidentally
316 putting a pitch in the wrong octave. A much better way of entering a
317 note's octave is `the relative octave' mode.
319 @cindex @code{\relative}
321 \relative @var{startpitch} @var{musicexpr}
324 The octave of notes that appear in @var{musicexpr} are calculated as
325 follows: If no octave changing marks are used, the basic interval
326 between this and the last note is always taken to be a fourth or
327 less.@footnote{The interval is determined without regarding
328 accidentals. A @code{fisis} following a @code{ceses} will be put above
329 the @code{ceses}.} The octave changing marks @code{'} and @code{,}
330 can then be added to raise or lower the pitch by an extra octave.
331 Upon entering relative mode, an absolute starting pitch must be
332 specified that will act as the predecessor of the first note of
335 Entering scales is straightforward in relative mode.
337 @lilypond[fragment,verbatim,center]
343 And octave changing marks are used for intervals greater than a fourth.
345 @lilypond[fragment,verbatim,center]
350 If the preceding item is a chord, the first note of the chord is used
351 to determine the first note of the next chord. But other notes
352 within the second chord are determined by looking at the immediately
355 @lilypond[fragment,verbatim,center]
362 @cindex @code{\notes}
364 The pitch after the @code{\relative} contains a notename. To parse
365 the pitch as a notename, you have to be in note mode, so there must
366 be a surrounding @code{\notes} keyword (which is not
369 The relative conversion will not affect @code{\transpose} or
370 @code{\relative} sections in its argument. If you want to use
371 relative within transposed music, you must place an additional
372 @code{\relative} inside the @code{\transpose}.
374 It is strongly recommended to use relative pitch mode: less work,
375 less error-prone, and more readable.
379 @subsection Transpose
381 @cindex transposition of pitches
382 @cindex @code{\transpose}
384 A music expression can be transposed with @code{\transpose}. The syntax
387 \transpose @var{pitch} @var{musicexpr}
390 This means that middle C in @var{musicexpr} is transposed to
393 @code{\transpose} distinguishes between enharmonic pitches: both
394 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
395 a tone. The first version will print sharps and the second version
399 @lilypond[fragment,verbatim]
402 { \key e \major; c d e f }
404 \transpose des'' { \key e \major; c d e f }
405 \transpose cis'' { \key e \major; c d e f }
411 If you want to use both @code{\transpose} and @code{\relative}, then
412 you must use @code{\transpose} first. @code{\relative} will have no
413 effect music that appears inside a @code{\transpose}.
422 [TODO: document #'repeatCommands.]
424 @cindex @code{\repeat}
426 In order to specify repeats, use the @code{\repeat}
427 keyword. Since repeats look and sound differently when played or
428 printed, there are a few different variants of repeats.
432 Repeated music is fully written (played) out. Useful for MIDI
436 This is the normal notation: Repeats are not written out, but
437 alternative endings (voltas) are printed, left to right.
440 Alternative endings are written stacked. Which is unfortunately not
441 practical for anything right now.
447 The syntax for repeats is
450 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
453 If you have alternative endings, you may add
455 @cindex @code{\alternative}
457 \alternative @code{@{} @var{alternative1}
459 @var{alternative3} @dots{} @code{@}}
462 where each @var{alternative} is a Music expression.
464 Normal notation repeats are used like this:
468 @lilypond[fragment,verbatim]
470 \repeat volta 2 { c'4 d' e' f' }
471 \repeat volta 2 { f' e' d' c' }
476 With alternative endings:
480 @lilypond[fragment,verbatim]
482 \repeat volta 2 {c'4 d' e' f'}
483 \alternative { {d'2 d'} {f' f} }
488 Folded repeats look like this:@footnote{Folded repeats offer little
489 more over simultaneous music. However, it is to be expected that
490 more functionality -- especially for the MIDI backend -- will be
495 @lilypond[fragment,verbatim]
497 \repeat fold 2 {c'4 d' e' f'}
498 \alternative { {d'2 d'} {f' f} }
505 @lilypond[fragment,verbatim]
509 \repeat volta 2 { e | c2 d2 | e2 f2 | }
510 \alternative { { g4 g g } { a | a a a a | b1 } }
517 If you don't give enough alternatives for all of the repeats, then
518 the first alternative is assumed to be repeated often enough to equal
519 the specified number of repeats.
522 @lilypond[fragment,verbatim]
525 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
526 \alternative { { g4 g g }
527 {\partial 1; e4 e e }
528 {\partial 1; a a a a | b1 } }
534 As you can see, LilyPond doesn't remember the timing information, nor
535 are slurs or ties repeated. We hope to fix this after 1.4.
537 It is possible to nest @code{\repeat}. This is not entirely
538 supported: the notes will come be in the right places, but the repeat
541 To place tremolo marks between notes, use @code{\repeat} with tremolo
543 @cindex tremolo beams
544 To create tremolo beams on a single note, simply attach
545 `@code{:}@var{length}' to the note itself.
547 @lilypond[verbatim,center]
549 \context Voice \notes\relative c' {
550 \repeat "tremolo" 8 { c16 d16 }
551 \repeat "tremolo" 4 { c16 d16 }
552 \repeat "tremolo" 2 { c16 d16 }
555 linewidth = 40*\staffspace;
561 @lilypond[fragment,verbatim,center]
571 Tuplets are made out of a music expression by multiplying their
572 duration with a fraction.
574 @cindex @code{\times}
576 \times @var{fraction} @var{musicexpr}
579 The duration of @var{musicexpr} will be multiplied by the fraction.
580 In print, the fraction's denominator will be printed over the notes,
581 optionally with a bracket. The most common tuplet is the triplet in
582 which 3 notes have the length of 2, so the notes are 2/3 of
583 their written length:
585 @lilypond[fragment,verbatim,center]
586 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
594 Apply allows a Scheme-function to operate directly on the internal
595 representation of music.
597 \apply #@var{func} @var{music}
599 The function takes two arguments, being a function and an musical
600 argument for that function. The function should return a music
603 This example replaces the text string of a script. It also shows a dump
604 of the music it processes.
606 #(define (testfunc x)
607 (if (eq? (ly-get-mus-property x 'text) "foo")
608 (ly-set-mus-property x 'text "bar"))
610 (ly-set-mus-property x 'elements
611 (map testfunc (ly-get-mus-property x 'elements)))
616 \apply #testfunc { c4_"foo" }
620 For more information on what is possible, see the @ref{Tricks} and the
621 automatically generated documentation.
625 @subsection Transform
641 @subsection Notes mode
645 @cindex @code{\notes}
646 Note mode is introduced by the keyword
647 @code{\notes}. In Note mode, words can only
648 contain alphabetic characters. If @code{word} is encountered,
649 LilyPond first checks for a notename of @code{word}. If no
650 notename is found, then @code{word} is treated as a string.
652 Since combinations of numbers and dots are used for indicating
653 durations, it is not possible to enter real numbers in this mode.
660 @subsection Pitch names
662 @node Note specification
663 @section Note specification
664 @cindex Note specification
667 @cindex entering notes
669 A note specification has the form
672 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
675 The pitch of the note is specified by the note's name.
678 The default names are the Dutch note names. The notes are specified
679 by the letters @code{c} through @code{b}, where @code{c} is an
680 octave below middle C and the letters span the octave above that C.
682 @cindex note names, Dutch
683 a sharp is formed by adding @code{-is} to the end of a pitch name. A
684 flat is formed by adding @code{-es}. Double sharps and double flats are
685 obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
686 @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
687 forms will be accepted.
689 LilyPond has predefined sets of notenames for various other languages.
690 To use them, simply include the language specific init file. For
691 example: @code{\include "english.ly"}. The available language files and
692 the names they define are:
695 Note Names sharp flat
696 nederlands.ly c d e f g a bes b -is -es
697 english.ly c d e f g a bf b -s/-sharp -f/-flat
698 deutsch.ly c d e f g a b h -is -es
699 norsk.ly c d e f g a b h -iss/-is -ess/-es
700 svenska.ly c d e f g a b h -iss -ess
701 italiano.ly do re mi fa sol la sib si -d -b
702 catalan.ly do re mi fa sol la sib si -d/-s -b
707 Pitch names can be redefined using the @code{\pitchnames} command, see
713 The optional octave specification takes the form of a series of
714 single quote (`@code{'}') characters or a series of comma
715 (`@code{,}') characters. Each @code{'} raises the pitch by one
716 octave; each @code{,} lowers the pitch by an octave.
718 @lilypond[fragment,verbatim,center]
719 c' d' e' f' g' a' b' c''
722 @lilypond[fragment,verbatim,center]
723 cis' dis' eis' fis' gis' ais' bis'
726 @lilypond[fragment,verbatim,center]
727 ces' des' es' fes' ges' as' bes'
730 @lilypond[fragment,verbatim,center]
731 cisis' eisis' gisis' aisis' beses'
734 @lilypond[fragment,verbatim,center]
735 ceses' eses' geses' ases' beses'
738 LilyPond will determine what accidentals to typeset depending on the key
739 and context, so alteration refer to what note is heard, not to whether
740 accidentals are printed. A reminder accidental
741 @cindex reminder accidental
743 can be forced by adding an exclamation mark @code{!} after the pitch.
744 A cautionary accidental,
745 @cindex cautionary accidental
747 i.e., an accidental within parentheses can be obtained by adding the
748 question mark `@code{?}' after the pitch.
750 @lilypond[fragment,verbatim,center]
751 cis' d' e' cis' c'? d' e' c'!
759 * Multi measure rests::
767 Rests are entered like notes, with note name `@code{r}'.
768 There is also a note name
769 `@code{s}', which produces a space of the specified
775 @subsection Durations
778 Durations are entered as their reciprocal values. For notes longer
779 than a whole note, use identifiers.
785 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
787 r1 r2 r4 r8 r16 r32 r64 r64
793 \notes \relative c'' {
794 a\longa a\breve \autoBeamOff
795 a1 a2 a4 a8 a16 a32 a64 a64
797 r1 r2 r4 r8 r16 r32 r64 r64
802 \remove "Clef_engraver";
803 \remove "Staff_symbol_engraver";
804 \remove "Time_signature_engraver";
805 \consists "Pitch_squash_engraver";
812 As you can see, the longa is not printed. To get a longa note head, you
813 have to use a different style of note heads. See [TODO].
818 If the duration is omitted then it is set equal to the previous duration
819 entered. At the start of parsing there is no previous duration, so then
820 a quarter note is assumed. The duration can be followed by a dot
821 (`@code{.}') to obtain dotted note lengths.
825 @lilypond[fragment,verbatim,center]
831 You can alter the length of duration by writing `@code{*}@var{fraction}'
832 after it. This will not affect the appearance of note heads or rests.
834 @c. {Multi measure rests}
835 @node Multi measure rests
836 @subsection Multi measure rests
837 @cindex Multi measure rests
841 Multi_measure_rest are entered using `@code{R}'. It is specifically
842 meant for entering parts: the rest can expand to fill a score with
843 rests, or it can be printed as a single multimeasure rest This expansion
844 is controlled by the property @code{Score.skipBars}. If this is set to true,
845 Lily will not expand empty measures, and the multimeasure rests
846 automatically adds the appropriate number.
849 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
852 Note that there is currently no way to condense multiple rests into a
853 single multimeasure rest.
862 \skip @var{duration} @code{;}
866 Skips the amount of time specified by @var{duration}. If no other
867 music is played, a gap will be left for the skipped time with no
868 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
869 this has the same effect as the spacer rest.
877 @section Music notation
878 @cindex Music notation
896 @code{\key} @var{pitch} @var{type} @code{;}
898 @cindex @code{\minor}
899 @cindex @code{\major}
900 @cindex @code{\minor}
901 @cindex @code{\ionian}
902 @cindex @code{\locrian}
903 @cindex @code{\aeolian}
904 @cindex @code{\mixolydian}
905 @cindex @code{\lydian}
906 @cindex @code{\phrygian}
907 @cindex @code{\dorian}
909 Change the key signature. @var{type} should be @code{\major} or
910 @code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
911 respectively. The second argument is optional; the default is major
912 keys. The @var{\context} argument can also be given as an integer,
913 which tells the number of semitones that should be added to the pitch
914 given in the subsequent @code{\key} commands to get the corresponding
915 major key, e.g., @code{\minor} is defined as 3. The standard mode names
916 @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
917 @code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
927 @subsubsection Clef changes
930 \clef @var{clefname} @code{;}
936 \property Clef.clefGlyph = @var{symbol associated with clefname}
937 \property Clef.clefPosition = @var{clef Y-position for clefname}
938 \property Clef.clefOctavation = @var{extra pitch of clefname}
941 Supported clef-names include
948 @subsection Time signature
949 @cindex Time signature
954 \time @var{numerator}@code{/}@var{denominator} @code{;}
957 A short-cut for doing
959 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
962 See the documentation of @code{timeSignatureFraction}
966 @subsubsection Partial
970 @cindex partial measure
971 @cindex measure, partial
972 @cindex shorten measures
973 @cindex @code{\partial}
975 \partial @var{duration} @code{;}
981 \property Score.measurePosition = @var{length of duration}
985 See the documentation of @code{measurePosition}.
1000 * Crescendo and Decrescendo::
1009 @c. {Automatic beams}
1010 @unnumberedsubsubsec Automatic beams
1012 @cindex automatic beam generation
1015 @cindex @code{Voice.noAutoBeaming}
1017 By default, LilyPond will generate beams automatically. This feature
1018 can be disabled by setting the @code{Voice.noAutoBeaming} property to
1019 true. It can be overridden for specific cases by specifying explicit
1022 @cindex @code{Voice.autoBeamSettings}
1023 @cindex @code{(end * * * *)}
1024 @cindex @code{(begin * * * *)}
1026 A large number of Voice properties are used to decide how to generate
1027 beams. Their default values appear in @file{scm/auto-beam.scm}. In
1028 general, beams can begin anywhere, but their ending location is
1029 significant. Beams can end on a beat, or at durations specified by the
1031 @code{Voice.autoBeamSettings}.
1032 To end beams every quarter note, for example, you could set the property
1033 @code{(end * * * *)} to @code{(make-moment 1
1034 4)}. To end beams at every three eighth notes you would set
1035 it to @code{(make-moment 1 8)}.
1036 The same syntax can be used to specify beam
1037 starting points using
1038 @code{(begin * * * *)}, eg:
1041 \property Voice.autoBeamSettings \override
1042 #'(end * * * *) = #(make-moment 1 4)
1043 \property Voice.autoBeamSettings \override
1044 #'(begin * * * *) = #(make-moment 1 8)
1048 To allow different settings for different time signatures, instead of
1049 the first two asterisks @code{* *} you can specify a time signature; use
1050 @code{(end N M * *)} to restrict the definition to
1051 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
1052 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
1054 To allow different endings for notes of different durations, instead of
1055 th last two asterisks you can specify a duration; use @code{(end * * N
1056 M)} to restrict the definition to beams that contain notes of
1057 `@var{N}@code{/}@var{M}' duration.
1059 For example, to specify beam endings for beams that contain 32nd notes,
1060 you would use @code{(end * * 1 32)}.
1065 @cindex Automatic beams
1066 @unnumberedsubsubsec Manual beams
1068 @cindex beams, manual
1073 Beaming can be generated automatically; see section @ref{Automatic Beaming}.
1075 A beam is specified by surrounding the beamed notes with brackets
1076 `@code{[}' and `@code{]}'.
1078 @lilypond[fragment,verbatim,center]
1079 [a'8 a'] [a'16 a' a' a']
1080 [a'16 <a' c''> c'' <a' c''>]
1081 \times 2/3 { [e'8 f' g'] }
1085 @cindex @code{-}@code{-}
1088 @c. {Adjusting beams}
1089 @unnumberedsubsubsec Adjusting beams
1090 @cindex Adjusting beams
1101 Slurs connects chords and try to avoid crossing stems. A slur is
1102 started with @code{(} and stopped with @code{)}. The
1103 starting @code{(} appears to the right of the first note in
1104 the slur. The terminal @code{)} appears to the left of the
1105 first note in the slur. This makes it possible to put a note in
1106 slurs from both sides:
1108 @lilypond[fragment,verbatim,center]
1109 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1114 @c. {Adjusting slurs}
1115 @unnumberedsubsubsec Adjusting slurs
1117 @cindex Adusting slurs
1125 A tie connects two adjacent note heads of the same pitch. When used
1126 with chords, it connects all of the note heads whose pitches match.
1127 Ties are indicated using the tilde symbol `@code{~}'.
1128 If you try to tie together chords which have no common pitches, a
1129 warning message will appear and no ties will be created.
1131 @lilypond[fragment,verbatim,center]
1132 e' ~ e' <c' e' g'> ~ <c' e' g'>
1140 @subsubsection Tuplet
1147 @subsubsection Volta
1152 @c. {Crescendo and Decrescendo}
1153 @node Crescendo and Decrescendo
1154 @subsubsection Crescendo and Decrescendo
1155 @cindex Crescendo and Decrescendo
1159 @cindex @code{\decr}
1160 @cindex @code{\rced}
1167 A crescendo mark is started with @code{\cr} and terminated with
1168 @code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
1169 started with @code{\decr} and terminated with @code{\rced}. There are
1170 also shorthands for these marks. A crescendo can be started with
1171 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1172 can be terminated with @code{\!}. Note that @code{\!} must go before
1173 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1174 after the last note. Because these marks are bound to notes, if you
1175 want to get several marks during one note, you must use spacer notes.
1177 @lilypond[fragment,verbatim,center]
1178 c'' \< \! c'' d'' \decr e'' \rced
1179 < f''1 { s4 \< \! s2 \> \! s4 } >
1187 @subsubsection Text spanner
1188 @cindex Text spanner
1190 Have crescendo set a text spanner instead of hairpin
1192 @lilypond[fragment,relative,verbatim]
1194 \property Voice.crescendoText = "cresc."
1195 \property Voice.crescendoSpanner = #'dashed-line
1202 @subsubsection Ottava
1204 @unnumberedsubsubsec Ottava
1206 @lilypond[fragment,relative,verbatim]
1208 \property Voice.TextSpanner \set #'type = #'dotted-line
1209 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1210 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1211 \property Staff.centralCPosition = #-13
1212 a\spanrequest \start "text" b c a \spanrequest \stop "text"
1217 @c. {Text crescendo and decrescendo}
1218 @unnumberedsubsubsec Text crescendo and decrescendo
1224 @subsubsection Span requests
1225 @cindex Span requests
1227 @cindex @code{\spanrequest}
1230 \spanrequest @var{startstop} @var{type}
1232 @cindex @code{\start}
1233 @cindex @code{\stop}
1235 Define a spanning request. The @var{startstop} parameter is either -1
1236 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
1237 describes what should be started. Supported types are @code{crescendo},
1238 @code{decrescendo}, @code{beam}, @code{slur}. This is an internal
1239 command. Users should use the shorthands which are defined in the
1240 initialization file @file{spanners.ly}.
1242 You can attach a (general) span request to a note using
1244 @lilypond[fragment,verbatim,center]
1245 c'4-\spanrequest \start "slur"
1246 c'4-\spanrequest \stop "slur"
1249 The slur syntax with parentheses is a shorthand for this.
1254 @subsection Ornaments
1271 @subsubsection Articulation
1272 @cindex Articulation
1274 @cindex articulations
1278 A variety of symbols can appear above and below notes to indicate
1279 different characteristics of the performance. These symbols can be
1280 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1281 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1282 forced to appear above or below the note by writing
1283 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1284 respectively. Here is a chart showing symbols above notes, with the
1285 name of the corresponding symbol appearing underneath.
1291 \property Score.LyricSyllable \override #'font-family =
1293 \property Score.LyricSyllable \override #'font-shape = #'upright
1294 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1295 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1296 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1297 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1298 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1299 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1300 c''-\thumb c''-\segno c''-\coda
1302 \context Lyrics \lyrics {
1303 accent__ marcato__ staccatissimo__ fermata
1304 stopped__ staccato__ tenuto__ upbow
1305 downbow__ lheel__ rheel__ ltoe
1306 rtoe__ turn__ open__ flageolet
1307 reverseturn__ trill__ prall__ mordent
1308 prallprall__ prallmordent__ uprall__ downprall
1309 thumb__ segno__ coda
1313 linewidth = 5.875\in;
1322 @subsubsection Text scripts
1323 @cindex Text scripts
1327 In addition, it is possible to place arbitrary strings of text or
1328 @TeX{} above or below notes by using a string instead of an
1329 identifier: @code{c^"text"}. Fingerings
1330 can be placed by simply using digits. All of these note ornaments
1331 appear in the printed output but have no effect on the MIDI rendering of
1335 @unnumberedsubsubsec Fingerings
1338 To save typing, fingering instructions (digits 0 to 9 are
1339 supported) and single characters shorthands exist for a few
1344 \notes \context Voice {
1345 \property Voice.TextScript \set #'font-family = #'typewriter
1346 \property Voice.TextScript \set #'font-shape = #'upright
1352 c''4-^_"c-\\^{ }" s4
1359 linewidth = 5.875 \in;
1367 @cindex @code{\textscript}
1371 \textscript @var{text} @var{style}
1374 Defines a text to be printed over or under a note. @var{style} is a
1375 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1376 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1378 You can attach a general textscript request using this syntax:
1383 c4-\textscript "6" "finger"
1384 c4-\textscript "foo" "normal"
1389 This is equivalent to @code{c4-6 c4-"foo"}.
1391 @cindex @code{\script}
1398 @cindex @code{\script}
1400 Prints a symbol above or below a note. The argument is a string which
1401 points into the script-alias table defined in @file{scm/script.scm}, for
1402 information on how to add scripts, read the comments in that file.
1403 Usually the @code{\script} keyword is not used directly. Various
1404 helpful identifier definitions appear in @file{script.ly}.
1411 @subsubsection Grace notes
1414 See @ref{Grace music}.
1418 @subsubsection Stem tremolo
1419 @cindex tremolo marks
1420 @cindex @code{tremoloFlags}
1422 [FIXME: should be \repeat]
1424 Tremolo marks can be printed on a single note by adding
1425 `@code{:}[@var{length}]' after the note. The length must be at
1426 least 8. A @var{length} value of 8 gives one line across
1427 the note stem. If the length is omitted, then the last value is
1428 used, or the value of the @code{tremoloFlags} property if there was
1431 @lilypond[verbatim,fragment,center]
1438 @subsubsection Arpeggio
1441 @cindex broken arpeggio
1442 @cindex @code{\arpeggio}
1444 You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
1447 @code{\arpeggio} request:
1451 @lilypond[fragment,relative,verbatim]
1452 \context Voice <c'\arpeggio e g c>
1456 Typesetting of simultanious chords with arpeggios can be controlled with
1457 the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
1458 connectArpeggios. Can't find the English terms for two kinds of
1459 arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
1460 default, LilyPond prints broken arpeggios; when set to true, one
1461 extended arpeggio sign is printed.
1464 @lilypond[fragment,relative,verbatim]
1465 \context PianoStaff <
1466 \property PianoStaff.connectArpeggios = ##t
1467 \context Staff \context Voice <c''\arpeggio e g c>
1468 \context Staff=other \context Voice <c,\arpeggio e g>
1476 @subsubsection Glissando
1479 @cindex @code{\glissando}
1481 A @rgrob{Glissando} line can be requested by issuing a
1484 @code{\glissando} request:
1488 @lilypond[fragment,relative,verbatim]
1493 Printing of the additional text @samp{gliss.} must be done manually.
1497 @subsubsection Follow Thread
1498 @cindex follow thread
1499 @cindex staff switching
1502 @c Documented here because it looks like a glissando...
1503 @cindex @code{followThread}
1504 A glissando-like line can be printed to connect notes whenever a thread
1505 switches to another staff. This is enabled if the property
1506 @code{PianoStaff.followThread} is set to true:
1509 @lilypond[fragment,relative,verbatim]
1510 \context PianoStaff <
1511 \property PianoStaff.followThread = ##t
1512 \context Staff \context Voice {
1514 \translator Staff=two
1517 \context Staff=two {\clef bass; \skip 1*2;}
1526 @subsubsection Dynamics
1529 @unnumberedsubsec Dynamics
1539 @cindex @code{\ffff}
1548 Dynamic marks are specified by using an identifier after a note:
1549 @code{c4-\ff} (the dash is optional for dynamics: `@code{c4 \ff})'.
1550 The available dynamic marks are:
1552 @code{\pp}, @code{\p}, @code{\mp},
1553 @code{\mf}, @code{\f}, @code{\ff},
1554 @code{\fff}, @code{\fff},
1555 @code{\fp}, @code{\sf},
1556 @code{\sff}, @code{\sp},
1557 @code{\spp}, @code{\sfz}, and
1560 See also @ref{Crescendo and Decrescendo}
1565 @subsubsection Bar lines
1569 @cindex measure lines
1576 This is a short-cut for doing
1578 \property Score.whichBar = @var{bartype}
1581 You are encouraged to use @code{\repeat} for repetitions. See
1582 @ref{Repeat}, @ref{Volta}, and the documentation of @code{whichBar} in
1583 @ref{(lilypond-internals)LilyPond context properties}.
1590 @subsubsection Breath marks
1591 @cindex Breath marks
1593 @c. {Rehearsal marks}
1594 @node Rehearsal marks
1595 @subsubsection Rehearsal marks
1596 @cindex Rehearsal marks
1598 @cindex @code{\mark}
1601 \mark @var{unsigned};
1602 @cindex @code{Mark_engraver}
1606 Prints a mark over or under the staff.
1611 @subsection Bar check
1615 @cindex @code{barCheckNoSynchronize}
1619 Bar checks help you find errors in the input: Whenever one is
1620 encountered during interpretation, a warning message is issued if it
1621 doesn't fall at a measure boundary. Depending on the value of
1622 @code{barCheckNoSynchronize}, the beginning of the measure will be
1623 relocated, so this can also be used to shorten measures.
1625 A bar check is entered using the bar symbol, @code{|}
1627 This can help you finding errors in the input.
1632 @section Lyrics entry
1633 @cindex Lyrics entry
1645 @subsection Lyrics mode
1649 @cindex @code{\lyrics}
1651 Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
1652 rules that make it easy to include punctuation and diacritical marks in
1653 words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
1654 format or a standard encoding without needing quotes. The precise
1655 definition of this mode is ludicrous, and this will remain so until the
1656 authors of LilyPond acquire a deeper understanding of character
1657 encoding, or someone else steps up to fix this.
1659 A word in Lyrics mode begins with: an alphabetic character, @code{_},
1660 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
1661 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
1662 any 8-bit character with ASCII code over 127, or a two-character
1663 combination of a backslash followed by one of @code{`}, @code{'},
1664 @code{"}, or @code{^}.
1666 Subsequent characters of a word can be any character that is not a digit
1667 and not white space. One important consequence of this is that a word
1668 can end with `@code{@}}', which may be confusing. However, LilyPond will
1669 issue a warning. Any @code{_} character which appears in an unquoted
1670 word is converted to a space. This provides a mechanism for introducing
1671 spaces into words without using quotes. Quoted words can also be used
1672 in Lyrics mode to specify words that cannot be written with the above
1673 rules. Here are some examples. Not all of these words are printable by
1678 2B_||_!2B % not a word because it starts with a digit
1679 ``Hello'' % not a word because it starts with `
1680 _ _ _ _ % 4 words, each one a space
1683 Since combinations of numbers and dots are used for indicating
1684 durations, you can not enter real numbers in this mode.
1686 [todo: include short table showing differences]
1688 @cindex lyrics expressions
1690 Syllables are entered like notes, with pitches replaced by text. For
1691 example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
1692 with quarter note duration. Note that the hyphen has no special
1693 meaning for lyrics, and does not introduce special symbols. See
1694 section @ref{Lexical modes} for a description of what is interpreted as
1697 Spaces can be introduced into a lyric either by using quotes
1698 (@code{"}) or by using an underscore without quotes: @code{He_could4
1699 not4}. All unquoted underscores are converted to spaces. Printing
1700 lyrics is discussed in section @ref{lyricprint}.
1703 @c. {Printing Lyrics}
1704 @node Printing lyrics
1705 @subsection lyricprint
1709 @cindex printing!lyrics
1712 Lyric syllables must be interpreted within a @code{Lyrics} context
1714 @cindex context!Lyrics
1717 Here is a full example:
1723 \notes \transpose c'' {
1725 e f g2 | e4 f g2 \bar "|.";
1727 \context Lyrics \lyrics {
1728 Va-4 der Ja- cob Va- der Ja- cob
1729 Slaapt gij nog?2 Slaapt4 gij nog?2
1737 You may want a continuous line after the syllables to show melismata.
1738 To achieve this effect, add a @code{__} lyric as a separate word
1739 after the lyric to be extended. This will create an extender, a line
1740 that extends over the entire duration of the lyric. This line will
1741 run all the way to the start of the next lyric, so you may want to
1742 shorten it by using a blank lyric (using @code{_}).
1749 \notes \relative c'' {
1750 a4 () b () c () d | c () d () b () a | c () d () b () a
1752 \context Lyrics \lyrics {
1753 foo1 __ | bar2. __ _4 | baz1 __
1762 If you want to have hyphens centered between syllables (rather than
1763 attached to the end of the first syllable) you can use the special
1764 `@code{-}@code{-}' lyric as a separate word between syllables. This
1765 will result in a hyphen which length varies depending on the space
1766 between syllables, and which will be centered between the syllables.
1774 \notes \transpose c'' {
1776 e f g2 | e4 f g2 \bar "|.";
1778 \context Lyrics \lyrics {
1779 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
1780 Slaapt gij nog?2 | Slaapt4 gij nog?2
1793 @subsection Lyric hyphen
1794 @cindex Lyric hyphen
1796 The syntax for a spanning hyphen (i.e., a hyphen that will be printed
1797 between two lyric syllables) is `@code{-}@code{-}'.
1799 @c. {Lyric extender}
1800 @node Lyric extender
1801 @subsection Lyric extender
1802 @cindex Lyric extender
1804 @cindex lyric extender
1807 The syntax for an extender mark is @code{__}. This syntax can only
1808 be used within lyrics mode.
1815 @subsection Addlyrics
1819 [explain automatic phrasing]
1820 @cindex automatic lyric durations
1821 @cindex @code{\addlyrics}
1823 If you have lyrics that are set to a melody, you can import the rhythm
1824 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1827 \addlyrics @var{musicexpr1 musicexpr2}
1830 This means that both @var{musicexpr1} and @var{musicexpr2} are
1831 interpreted, but that every non-command atomic music expression
1832 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1833 of @var{musicexpr1}.
1834 @cindex @code{automaticMelismata}
1836 If the property @code{automaticMelismata} is set in the
1837 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1841 @lilypond[verbatim,fragment]
1844 \property Voice.automaticMelismata = ##t
1845 c8 () cis d8. e16 f2
1847 \context Lyrics \lyrics {
1852 You should use a single rhythm melody, and single rhythm lyrics (a
1853 constant duration is the obvious choice). If you do not, you will get
1854 undesired effects when using multiple stanzas:
1857 @lilypond[verbatim,fragment]
1860 c8 () cis d8. e16 f2
1862 \context Lyrics \lyrics
1869 It is valid (but probably not very useful) to use notes instead of
1870 lyrics for @var{musicexpr2}.
1876 @section Chord entry
1881 * Entering named chords::
1882 * Printing named chords::
1887 @subsection Chords mode
1890 Chord mode is introduced by the keyword
1891 @code{\chords}. It is similar to Note mode, but
1892 words are also looked up in a chord modifier table (containing
1893 @code{maj}, @code{dim}, etc).
1895 Since combinations of numbers and dots are used for indicating
1896 durations, you can not enter real numbers in this mode. Dashes
1897 and carets are used to indicate chord additions and subtractions,
1898 so scripts can not be entered in Chord mode.
1900 @c. {Entering named chords}
1901 @node Entering named chords
1902 @subsection Entering named chords
1903 @cindex Chords names
1905 Chord names are a way to generate simultaneous music expressions that
1906 correspond with traditional chord names. It can only be used in
1907 Chord mode (see section @ref{Lexical modes}).
1911 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1914 @var{tonic} should be the tonic note of the chord, and @var{duration}
1915 is the chord duration in the usual notation. There are two kinds of
1916 modifiers. One type is @emph{chord additions}, which are obtained by
1917 listing intervals separated by dots. An interval is written by its
1918 number with an optional @code{+} or @code{-} to indicate raising or
1919 lowering by half a step. Chord additions has two effects: It adds
1920 the specified interval and all lower odd numbered intervals to the
1921 chord, and it may lower or raise the specified interval. Intervals
1922 must be separated by a dot (@code{.}).
1925 Throughout these examples, chords have been shifted around the staff
1926 using @code{\transpose}.
1931 @lilypond[fragment,verbatim]
1935 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1947 The second type of modifier that may appear after the @code{:} is a
1948 named modifier. Named modifiers are listed in the file
1949 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
1950 @code{min} which lower the 3rd half a step, `@code{aug}' which
1951 raises the 5th, `@code{dim}' which lowers the 5th,
1952 `@code{maj}' which adds a raised 7th, and `@code{sus}'
1953 which replaces the 5th with a 4th.
1957 @lilypond[fragment,verbatim]
1960 c1:m c:min7 c:maj c:aug c:dim c:sus
1968 Chord subtractions are used to eliminate notes from a chord. The
1969 notes to be subtracted are listed after a @code{^} character,
1972 @lilypond[fragment,verbatim,center]
1981 Chord inversions can be specified by appending `@code{/}' and
1982 the name of a single note to a chord. This has the effect of
1983 lowering the specified note by an octave so it becomes the lowest
1984 note in the chord. If the specified note is not in the chord, a
1985 warning will be printed.
1987 @lilypond[fragment,verbatim,center]
1997 Bass notes can be added by `@code{/+}' and
1998 the name of a single note to a chord. This has the effect of
1999 adding the specified note to the chord, lowered by an octave,
2000 so it becomes the lowest note in the chord.
2002 @lilypond[fragment,verbatim,center]
2011 The most interesting application is printing chords using chord names,
2012 See @ref{Chord names}.
2014 You should not combine @code{\relative} with named chords. [FIXME]
2016 @c. {Printing named chords}
2017 @node Printing named chords
2018 @subsection Printing named chords
2023 @cindex printing!chord names
2024 @cindex @code{ChordNames}
2025 @cindex @code{ChordNameVoice}
2027 For displaying printed chord names, use the @code{ChordNames} and
2028 @code{ChordNameVoice} contexts. The chords may be entered either using
2029 the notation described above, or directly using simultaneous music.
2034 \chords {a1 b c} <d f g> <e g b>
2038 \context ChordNamesVoice \scheme
2039 \context Staff \transpose c'' \scheme
2041 \paper { linewidth = -1.; }
2046 You can make the chord changes stand out more by setting property
2047 @code{ChordNames.chordChanges} to true. This will only display chord
2048 names when there's a change in the chords scheme, but always display the
2049 chord name after a line break:
2055 c1:m \break c:m c:m c:m d
2060 \context ChordNames \scheme
2061 \context Staff \transpose c'' \scheme
2064 linewidth = 40 * \staffspace;
2076 LilyPond examines chords specified as lists of notes to determine a
2077 name to give the chord. LilyPond will not try to
2078 identify chord inversions or added base, which may result in strange
2079 chord names when chords are entered as a list of pitches:
2082 @lilypond[verbatim,center]
2091 \context ChordNamesVoice \scheme
2092 \context Staff \scheme
2094 \paper { linewidth = -1.; }
2099 To specify chord inversions, append @code{/<notename>}. To specify an
2100 added bass note, append @code{/+<notename}:
2103 @lilypond[verbatim,center]
2110 \context ChordNames \scheme
2111 \context Staff \transpose c'' \scheme
2113 \paper { linewidth = -1.; }
2118 The chord names that LilyPond should print are fully customizable. The
2119 code to print chord names is written in Scheme. It can be found in
2120 @file{scm/chord-name.scm}. Chord names are based on Banter style
2121 naming, which is unambiguous and has a logical structure. Typical
2122 American style chord names are implemented as a variation on Banter
2123 names, they can be selected by setting property @code{ChordName.style}
2128 \include "english.ly"
2133 df:m5- % Diminished triad
2134 c:5^3 % Root-fifth chord
2135 c:4^3 % Suspended fourth triad
2136 c:5+ % Augmented triad
2138 c:m5-.7- % Diminished seventh
2139 c:7+ % Major seventh
2140 c:7.4^3 % Dominant seventh suspended fourth
2141 c:5+.7 % Augmented dominant seventh
2142 c:m5-.7 % "Half" diminished seventh
2143 c:5-.7 % Dominant seventh flat fifth
2144 c:5-.7+ % Major seventh flat fifth
2145 c:m7+ % Minor-major seventh
2146 c:m7 % Minor seventh
2147 c:7 % Dominant seventh
2150 c:9^7 % Major triad w/added ninth
2151 c:6.9^7 % Six/Nine chord
2152 c:9 % Dominant ninth
2153 c:7+.9 % Major ninth
2154 c:m7.9 % Minor ninth
2159 \context ChordNames \scheme
2160 \context Staff \transpose c'' \scheme
2165 ChordName \override #'word-space = #1
2166 ChordName \override #'style = #'american
2173 Similarly, Jazz style chord names are implemented as a variation on
2174 American style names:
2180 c:6 % 6 = major triad with added sixth
2181 c:maj % triangle = maj
2186 c:m % m = minor triad
2187 c:m.6 % m6 = minor triad with added sixth
2188 c:m.7+ % m triangle = minor major seventh chord
2196 c:7.5+ % +7 = augmented dominant
2197 c:7.5- % 7b5 = hard diminished dominant
2204 c:13.9-^11 % 7(b9,13)
2205 c:13.9+^11 % 7(#9,13)
2207 c:13-.9-^11 % 7(b9,b13)
2208 c:13-.9+^11 % 7(#9,b13)
2210 % half diminished chords
2211 c:m5-.7 % slashed o = m7b5
2212 c:9.3-.5- % o/7(pure 9)
2215 c:m5-.7- % o = diminished seventh chord
2220 \context ChordNames \scheme
2221 \context Staff \transpose c'' \scheme
2226 ChordName \override #'word-space = #1
2227 ChordName \override #'style = #'jazz
2239 @section Page layout
2253 @subsection Paper block
2256 The most important output definition is the @code{\paper} block, for
2257 music notation. The syntax is
2260 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2263 where each of the items is one of
2266 @item An assignment. The assignment must be terminated by a
2269 @item A context definition. See section @ref{contextdefs} for
2270 more information on context definitions.
2279 A margin shape declaration. The syntax is
2280 @cindex @code{\shape}
2283 \shape @var{indent1}@code{,} @var{width1}@code{,}
2284 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2289 Each pair of @var{indent} and @var{width} values is a dimension
2290 specifying how far to indent and how wide to make the line.
2291 The indentation and width of successive lines are specified by
2292 the successive pairs of dimensions. The last pair of
2293 dimensions will define the characeristics of all lines beyond
2294 those explicitly specified.
2297 @item \stylesheet declaration. Its syntax is
2299 \stylesheet @var{alist}
2302 See @file{font.scm} for details of @var{alist}.
2305 @c. {Paper variables}
2306 @node Paper variables
2307 @subsection Paper variables
2308 @cindex Paper variables
2310 The paper block has some variables you may want to use or change:
2313 @cindex @code{indent}
2315 The indentation of the first line of music.
2316 @cindex @code{staffspace}
2318 @item @code{staffspace}
2319 The distance between two staff lines, calculated from the center
2320 of the lines. You should use either this or @code{rulethickness}
2321 as a unit for distances you modify.
2323 @cindex @code{linewidth}
2324 @item @code{linewidth}
2325 Sets the width of the lines. If set to -1.0, a single
2326 unjustified line is produced. If you use this variable, you
2327 probably want to define it in staff spaces, ie
2329 linewidth = 30 * \staffspace;
2331 @cindex @code{textheight}
2333 @item @code{textheight}
2334 Sets the total height of the music on each page. Only used by
2336 @cindex @code{interscoreline}
2338 @item @code{interscoreline}
2339 Sets the spacing between the score lines. Defaults to 16 pt.
2340 @cindex @code{interscorelinefill}
2342 @item @code{interscorelinefill}
2343 If set to a positive number, the distance between the score
2344 lines will stretch in order to fill the full page. In that
2345 case @code{interscoreline} specifies the minimum spacing.
2347 @cindex @code{stafflinethickness}
2349 @item @code{stafflinethickness}
2350 Determines the thickness of staff lines, and also acts as a scaling
2351 parameter for other line thicknesses.
2357 @subsection Font size
2360 The Feta font provides musical symbols at six different sizes. These
2361 fonts are 11 point, 13 point, 16 point, 20 point,
2362 23 point, and 26 point. The point size of a font is the
2363 height of the five lines in a staff when displayed in the font.
2365 Definitions for these sizes are the files @file{paperSZ.ly}, where
2366 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2367 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2368 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2369 @code{paperTwentysix} are defined respectively. The default
2370 @code{\paper} block is also set.
2372 The font definitions are generated using a Scheme function. For more
2373 details, see the file @file{font.scm}.
2379 @subsection Paper size
2384 @cindex @code{papersize}
2386 To change the paper size, you must first set the
2387 @code{papersize} variable at top level. Set it to
2388 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2389 specification, you must set the font as described above. If you want
2390 the default font, then use the 20 point font. The new paper size will
2391 not take effect if the font is not loaded and selected afterwards.
2395 \include "paper16.ly"
2399 \paper @{ \paperSixteen @}
2403 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2404 will set the paper variables @code{hsize} and @code{vsize} (used by
2415 @subsection Line break
2419 @cindex @code{\penalty}
2422 \penalty @var{int} @code{;}
2425 Discourage or encourage line breaks. See @ref{Page layout}.
2431 @cindex breaking lines
2433 Line breaks are normally computed automatically. They are chosen such
2434 that the resulting spacing has low variation, and looks neither cramped
2437 Occasionally you might want to override the automatic breaks; you can do
2438 this by specifying @code{\break} (see also @ref{Pre-defined
2439 Identifiers}). This will force a line break at this point. Do remember
2440 that line breaks can only occur at places where there are barlines. If
2441 you want to have a line break where there is no barline, you can force a
2442 barline by entering @code{\bar "";}.
2449 @subsection Page break
2453 Not implemented, but see @ref{Tricks}
2455 Page breaks are normally computed by @TeX{}, so they are not under direct
2456 control. However, you can insert a commands into the .tex output to
2457 instruct @TeX{} where to break pages. For more details, see the
2458 example file @file{input/test/between-systems.ly}
2462 @cindex breaking pages
2474 * MIDI instrument names::
2480 @subsection MIDI block
2484 The MIDI block is analogous to the paper block, but it is somewhat
2485 simpler. The @code{\midi} block can contain:
2489 @item a @code{\tempo} definition
2490 @item context definitions
2493 Assignments in the @code{\midi} block are not allowed.
2497 @cindex context definition
2499 Context definitions follow precisely the same syntax as within the
2500 \paper block. Translation modules for sound are called performers.
2501 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2504 @c. {MIDI instrument names}
2505 @node MIDI instrument names
2506 @subsection MIDI instrument names
2507 @cindex instrument names
2508 @cindex @code{Staff.midiInstrument}
2509 @cindex @code{Staff.instrument}
2511 The MIDI instrument name is set by the @code{Staff.midiInstrument}
2512 property or, if that property is not set, the @code{Staff.instrument}
2513 property. The instrument name should be chosen from the following list.
2514 If the selected string does not exactly match, then LilyPond uses the
2517 [FIXME: to appendix ]
2521 "acoustic grand" "contrabass" "lead 7 (fifths)"
2522 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2523 "electric grand" "pizzicato strings" "pad 1 (new age)"
2524 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2525 "electric piano 1" "timpani" "pad 3 (polysynth)"
2526 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2527 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2528 "clav" "synthstrings 1" "pad 6 (metallic)"
2529 "celesta" "synthstrings 2" "pad 7 (halo)"
2530 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2531 "music box" "voice oohs" "fx 1 (rain)"
2532 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2533 "marimba" "orchestra hit" "fx 3 (crystal)"
2534 "xylophone" "trumpet" "fx 4 (atmosphere)"
2535 "tubular bells" "trombone" "fx 5 (brightness)"
2536 "dulcimer" "tuba" "fx 6 (goblins)"
2537 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2538 "percussive organ" "french horn" "fx 8 (sci-fi)"
2539 "rock organ" "brass section" "sitar"
2540 "church organ" "synthbrass 1" "banjo"
2541 "reed organ" "synthbrass 2" "shamisen"
2542 "accordion" "soprano sax" "koto"
2543 "harmonica" "alto sax" "kalimba"
2544 "concertina" "tenor sax" "bagpipe"
2545 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2546 "acoustic guitar (steel)" "oboe" "shanai"
2547 "electric guitar (jazz)" "english horn" "tinkle bell"
2548 "electric guitar (clean)" "bassoon" "agogo"
2549 "electric guitar (muted)" "clarinet" "steel drums"
2550 "overdriven guitar" "piccolo" "woodblock"
2551 "distorted guitar" "flute" "taiko drum"
2552 "guitar harmonics" "recorder" "melodic tom"
2553 "acoustic bass" "pan flute" "synth drum"
2554 "electric bass (finger)" "blown bottle" "reverse cymbal"
2555 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2556 "fretless bass" "whistle" "breath noise"
2557 "slap bass 1" "ocarina" "seashore"
2558 "slap bass 2" "lead 1 (square)" "bird tweet"
2559 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2560 "synth bass 2" "lead 3 (calliope)" "helicopter"
2561 "violin" "lead 4 (chiff)" "applause"
2562 "viola" "lead 5 (charang)" "gunshot"
2563 "cello" "lead 6 (voice)"
2574 @cindex beats per minute
2575 @cindex metronome marking
2577 @cindex @code{\tempo}
2579 \tempo @var{duration} = @var{perminute} @code{;}
2582 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
2583 output with 76 quarter notes per minute.
2591 @section Music entry
2594 * Pre-defined Identifiers::
2598 @c. {Pre-defined Identifiers}
2599 @node Pre-defined Identifiers
2600 @subsection Pre-defined Identifiers
2601 @cindex pre-defined identifiers
2604 Various identifiers are defined in the initialization files to
2605 provide shorthands for some settings. Most of them are in
2606 @file{ly/declarations.ly} and @file{ly/property.ly}.
2609 @cindex @code{\break}
2611 Force a line break in music by using a large argument for the
2612 keyword @code{\penalty}.
2614 @cindex @code{\nobreak}
2615 @item @code{\nobreak}
2616 Prevent a line break in music by using a large negative argument
2617 for the keyword @code{\penalty}.
2619 @cindex @code{\shiftOff}
2620 @item @code{\shiftOff}
2621 Disable horizontal shifting of note heads that collide.
2623 @cindex @code{\shiftOn}
2624 @item @code{\shiftOn}
2625 Enable note heads that collide with other note heads to be
2626 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
2627 set different shift values.
2629 @cindex @code{\stemBoth}
2630 @item @code{\stemBoth}
2631 Allow stems, beams, and slurs to point either upwards or
2632 downwards, decided automatically by LilyPond.
2634 @cindex @code{\stemDown}
2635 @item @code{\stemDown}
2636 Force stems, beams, and slurs to point down.
2638 @cindex @code{\stemUp}
2639 @item @code{\stemUp}
2640 Force stems, beams and slurs to point up.
2645 @c. {Point and click}
2646 @node Point and click
2647 @subsection Point and click
2656 * Context definitions::
2657 * Notation Contexts::
2660 @c. {Context definitions}
2661 @node Context definitions
2662 @subsection Context definitions
2664 @cindex context definition
2665 @cindex translator definition
2666 @cindex engraver hacking
2669 A notation contexts is defined by the following information
2674 @item The LilyPond modules that do the actual conversion of music to
2675 notation. Each module is a so-called
2680 @item How these modules should cooperate, i.e. which ``cooperation
2681 module'' should be used. This cooperation module is a special
2684 @item What other contexts the context can contain,
2686 @item What properties are defined.
2689 A context definition has this syntax:
2693 \translator @code{@{}
2694 @var{translatorinit} @var{translatormodifierlist}
2698 @var{translatorinit} can be an identifier or of the form
2702 \type @var{typename} @code{;}
2705 @var{typename} is one of
2708 @cindex @code{Engraver_group_engraver}
2709 @item @code{Engraver_group_engraver}
2710 The standard cooperation engraver.
2711 @cindex @code{Score_engraver}
2713 @item @code{Score_engraver}
2714 This is cooperation module that should be in the top level context.
2715 @cindex @code{Grace_engraver_group}
2717 @item @code{Grace_engraver_group}
2718 This is a special cooperation module (resembling
2719 @code{Score_engraver}) that is used to created an embedded
2723 @var{translatormodifierlist} is a list of items where each item is
2727 @item @code{\consists} @var{engravername} @code{;}
2728 Add @var{engravername} to the list of modules in this context.
2729 The order of engravers added with @code{\consists} is
2732 @item @code{\consistsend} @var{engravername} @code{;}
2733 Analogous to @code{\consists}, but makes sure that
2734 @var{engravername} is always added to the end of the list of
2737 Some engraver types need to be at the end of the list; this
2738 insures they are put there, and stay there, if a user adds or
2739 removes engravers. This command is usually not needed for
2742 @item @code{\accepts} @var{contextname} @code{;}
2743 Add @var{contextname} to the list of context this context can
2744 contain. The first listed context is the context to create by
2747 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2748 completeness, but is never used in practice.
2751 @item @code{\remove} @var{engravername} @code{;}
2752 Remove a previously added (with @code{\consists}) engraver.
2754 @item @code{\name} @var{contextname} @code{;}
2755 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2756 the name is not specified, the translator won't do anything.
2758 @item @var{propname} @code{=} @var{value} @code{;}
2759 A property assignment. It is allowed to use reals for
2763 In the @code{\paper} block, it is also possible to define translator
2764 identifiers. Like other block identifiers, the identifier can only
2765 be used as the very first item of a translator. In order to define
2766 such an identifier outside of @code{\score}, you must do
2772 foo = \translator @{ @dots{} @}
2779 \translator @{ \foo @dots{} @}
2787 @cindex paper types, engravers, and pre-defined translators
2789 Some pre-defined identifiers can simplify modification of
2790 translators. The pre-defined identifiers are:
2793 @cindex @code{StaffContext}
2794 @item @code{StaffContext}
2795 Default Staff context.
2796 @cindex @code{RhythmicStaffContext}
2798 @item @code{RhythmicStaffContext}
2799 Default RhythmicStaff context.
2800 @cindex @code{VoiceContext}
2802 @item @code{VoiceContext}
2803 Default Voice context.
2804 @cindex @code{ScoreContext}
2806 @item @code{ScoreContext}
2807 Default Score context.
2808 @cindex @code{ScoreWithNumbers}
2810 @item @code{ScoreWithNumbers}
2811 Score context with numbering at the Score level.
2812 @cindex @code{BarNumberingStaffContext}
2814 @item @code{BarNumberingStaffContext}
2815 Staff context with numbering at the Staff level.
2816 @cindex @code{HaraKiriStaffContext}
2818 @item @code{HaraKiriStaffContext}
2819 Staff context that does not print if it only contains rests.
2820 Useful for orchestral scores.@footnote{Harakiri, also called
2821 Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
2822 @cindex @code{OrchestralPartStaffContext}
2824 @item @code{OrchestralPartStaffContext}
2825 @cindex @code{OrchestralScoreContext}
2827 @item @code{OrchestralScoreContext}
2830 Using these pre-defined values, you can remove or add items to the
2839 \remove Some_engraver;
2840 \consists Different_engraver;
2850 @c. {Notation Contexts}
2851 @node Notation Contexts
2852 @subsection Notation Contexts
2854 @cindex notation contexts
2856 Notation contexts are objects that only exist during a run of
2857 LilyPond. During the interpretation phase of LilyPond, the Music
2858 expression contained in a @code{\score} block is interpreted in time
2859 order. This is the order in which humans read, play, and write
2862 A context is an object that holds the reading state of the
2863 expression; it contains information like
2866 @item What notes are playing at this point?
2867 @item What symbols will be printed at this point?
2868 @item In what style will they printed?
2869 @item What is the current key signature, time signature, point within
2873 Contexts are grouped hierarchically: A @code{Voice} context is
2874 contained in a @code{Staff} context (because a staff can contain
2875 multiple voices at any point), a @code{Staff} context is contained in
2876 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2877 these can all contain multiple staffs).
2879 Contexts associated with sheet music output are called @emph{notation
2880 contexts}, those for sound output are called performance contexts.
2882 Contexts are created either manually or automatically. Initially, the
2883 top level music expression is interpreted by the top level context (the
2884 @code{Score} context). When a atomic music expression (i.e. a note, a
2885 rest, etc.), a nested set of contexts is created that can process these
2886 atomic expressions, as in this example:
2889 \score @{ \notes @{ c4 @} @}
2892 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2893 context. When the note @code{c4} itself is interpreted, a set of
2894 contexts is needed that will accept notes. The default for this is a
2895 @code{Voice} context, contained in a @code{Staff} context. Creation of
2896 these contexts results in the staff being printed.
2900 You can also create contexts manually, and you probably have to do so
2901 if you want to typeset complicated multiple part material. If a
2902 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2903 during the interpretation phase, the @var{musicexpr} argument will be
2904 interpreted with a context of type @var{name}. If you specify a name,
2905 the specific context with that name is searched.
2909 If a context of the specified type and name can not be found, a new
2910 one is created. For example,
2916 \notes \relative c'' {
2917 c4 <d4 \context Staff = "another" e4> f
2924 In this example, the @code{c} and @code{d} are printed on the
2925 default staff. For the @code{e}, a context Staff called
2926 @code{another} is specified; since that does not exist, a new
2927 context is created. Within @code{another}, a (default) Voice context
2928 is created for the @code{e4}. When all music referring to a
2929 context is finished, the context is ended as well. So after the
2930 third quarter, @code{another} is removed.
2932 Almost all music expressions inherit their interpretation context
2933 from their parent. In other words, suppose that the syntax for a
2938 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2941 When the interpretation of this music expression starts, the context
2942 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2945 Lastly, you may wonder, why this:
2951 \notes \relative c'' @{
2959 doesn't result in this:
2964 \notes \relative c'' {
2971 For the @code{c4}, a default @code{Staff} (with a contained
2972 @code{Voice}) context is created. After the @code{c4} ends, no
2973 music refers to this default staff, so it would be ended, with the
2974 result shown. To prevent this inconvenient behavior, the context to
2975 which the sequential music refers is adjusted during the
2976 interpretation. So after the @code{c4} ends, the context of the
2977 sequential music is also the default @code{Voice} context.
2978 The @code{d4} gets interpreted in the same context
2981 Properties that are set in one context are inherited by all of the
2982 contained contexts. This means that a property valid for the
2983 @code{Voice} context can be set in the @code{Score} context (for
2984 example) and thus take effect in all @code{Voice} contexts.
2986 Properties can be preset within the @code{\translator} block
2987 corresponding to the appropriate context. In this case, the syntax
2991 @var{propname} @code{=} @var{value}
2994 This assignment happens before interpretation starts, so a
2995 @code{\property} expression will override any predefined settings.
2997 The property settings are used during the interpretation phase. They
2998 are read by the LilyPond modules where interpretation contexts are
2999 built of. These modules are called @emph{translators}. Translators for
3000 notation are called @emph{engravers}, and translators for sound are
3001 called @emph{performers}.
3007 @section Lexer innards
3008 @cindex Lexer innards
3020 @subsection Top level
3023 This section describes what you may enter at top level.
3026 @unnumberedsubsec Score definition
3027 @cindex score definition
3029 The output is generated combining a music expression with an output
3030 definition. A score block has the following syntax:
3033 \score @{ @var{musicexpr} @var{outputdefs} @}
3036 @var{outputdefs} are zero or more output definitions. If no output
3037 definition is supplied, the default @code{\paper} block will be added.
3041 @subsubsection Score
3045 @subsubsection Paper
3053 @subsubsection Header
3055 @cindex @code{\header}
3060 \header @{ @var{key1} = @var{val1};
3061 @cindex @code{ly2dvi}
3062 @var{key2} = @var{val2}; @dots{} @}
3066 A header describes the file's contents. It can also appear in a
3067 @code{\score} block. Tools like @code{ly2dvi} can use this
3068 information for generating titles. Key values that are used by
3069 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3070 metre, arranger, piece and tagline.
3072 It is customary to put the @code{\header} at the top of the file.
3074 @subsubsection Default output
3076 A @code{\midi} or @code{\paper} block at top-level sets the default
3078 paper block for all scores that lack an explicit paper block.
3082 @subsection Identifiers
3085 All of the information in a LilyPond input file, is represented as a
3086 Scheme value. In addition to normal Scheme data types (such as pair,
3087 number, boolean, etc.), LilyPond has a number of specialized data types,
3092 @item Music: see @ref{Music expressions}
3094 @item Translator_def:
3095 See section @ref{contextdefs} for more information
3099 @item Music_output_def
3100 @item Moment (rational number)
3103 LilyPond also includes some transient object types. Objects of these
3104 types are built during a LilyPond run, and do not `exist' per se within
3105 your input file. These objects are created as a result of your input
3106 file, so you can include commands in the input to manipulate them,
3107 during a lilypond run.
3110 @item Grob: short for Graphical object. See @ref{Grobs}.
3111 @item Molecule: device-independent page output object,
3112 including dimensions. Produced by some Grob functions
3114 @item Translator: object that produces audio objects or Grobs. This is
3115 not yet user accessible.
3116 @item Font_metric: object representing a font. (See @ref{Font metrics})
3123 @subsection Assignments
3126 Identifiers allow objects to be assigned to names during the parse
3127 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3128 and to refer to an identifier, you preceed its name with a backslash:
3129 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3130 the input-types listed above. Identifier assignments can appear at top
3131 level in the LilyPond file, but also in @code{\paper} blocks.
3133 Semicolons are forbidden after top level assignments, but mandatory in
3134 other places. The rules about semicolons and assignments are very
3135 confusing, but when LilyPond input evolves more towards Scheme, we hope
3136 that this problem will grow smaller.
3138 An identifier can be created with any string for its name, but you will
3139 only be able to refer to identifiers whose names begin with a letter,
3140 being entirely alphanumeric. It is impossible to refer to an identifier
3141 whose name is the same as the name of a keyword.
3143 The right hand side of an identifier assignment is parsed completely
3144 before the assignment is done, so it is allowed to redefine an
3145 identifier in terms of its old value, e.g.
3151 When an identifier is referenced, the information it points to is
3152 copied. For this reason, an identifier reference must always be the
3153 first item in a block.
3157 \paperIdent % wrong and invalid
3161 \paperIdent % correct
3168 @c. {Lexical details}
3169 @node Lexical details
3170 @subsection Lexical details
3171 @cindex Lexical details
3176 @subsubsection Comments
3182 A one line comment is introduced by a @code{%} character.
3183 Block comments are started by @code{%@{} and ended by `@code{%@}}'.
3184 They cannot be nested.
3187 @subsubsection Direct Scheme
3190 @cindex Scheme, in-line code
3193 LilyPond contains a Scheme interpreter (the GUILE library) for
3194 internal use. In some places Scheme expressions also form valid syntax:
3195 whereever it is allowed,
3199 evaluates the specified Scheme code. If this is used at toplevel, then
3200 the result is discarded. Example:
3202 \property Staff.TestObject \override #'foobar = #(+ 1 2)
3205 @code{\override} expects two Scheme expressions, so there are two Scheme
3206 expressions. The first one is a symbol (@code{foobar}), the second one
3207 an integer (namely, 3).
3209 Scheme is a full-blown programming language, and a full discussion is
3210 outside the scope of this document. Interested readers are referred to
3211 the website @uref{http://www.schemers.org/} for more information on
3216 @subsubsection Keywords
3220 Keywords start with a backslash, followed by a number of lower case
3221 alphabetic characters. These are all the keywords.
3224 apply arpeggio autochange spanrequest commandspanrequest
3225 simultaneous sequential accepts alternative bar breathe
3226 char chordmodifiers chords clef cm consists consistsend
3227 context denies duration dynamicscript elementdescriptions
3228 font grace header in lyrics key mark pitch
3229 time times midi mm name pitchnames notes outputproperty
3230 override set revert partial paper penalty property pt
3231 relative remove repeat addlyrics partcombine score
3232 script stylesheet skip textscript tempo translator
3237 @subsubsection Integers
3245 Formed from an optional minus sign followed by digits. Arithmetic
3246 operations cannot be done with integers, and integers cannot be mixed
3250 @subsubsection Reals
3251 @cindex real numbers
3257 Formed from an optional minus sign and a sequence of digits followed
3258 by a @emph{required} decimal point and an optional exponent such as
3259 @code{-1.2e3}. Reals can be built up using the usual operations:
3260 `@code{+}', `@code{-}', `@code{*}', and
3261 `@code{/}', with parentheses for grouping.
3269 A real constant can be followed by one of the dimension keywords:
3270 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
3271 points, inches and centimeters, respectively. This converts the number
3272 to a real that is the internal representation of dimensions.
3276 @subsubsection Strings
3280 Begins and ends with the @code{"} character. To include a @code{"}
3281 character in a string write @code{\"}. Various other backslash
3282 sequences have special interpretations as in the C language. A string
3283 that contains no spaces can be written without the quotes. See
3284 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
3285 depending on the situation. Strings can be concatenated with the
3288 The tokenizer accepts the following commands. They have no grammatical
3289 function, hence they can appear anywhere in the input.
3293 @subsubsection Main input
3296 @cindex @code{\maininput}
3298 The @code{\maininput} command is used in init files to signal that the
3299 user file must be read. This command cannot be used in a user file.
3301 @c. {File inclusion}
3302 @subsubsection Main input
3305 @subsubsection File inclusion
3306 @cindex @code{\include}
3308 \include @var{filename}
3311 Include @var{filename}. The argument @var{filename} may be a quoted string (an
3312 unquoted string will not work here!) or a string identifier. The full
3313 filename including the @file{.ly} extension must be given,
3315 @subsubsection Version information
3316 @cindex @code{\version}
3318 \version @var{string} ;
3321 Specify the version of LilyPond that a file was written for. The
3322 argument is a version string in quotes, for example @code{"1.2.0"}.
3323 This is used to detect invalid input, and to aid
3324 @code{convert-ly} a tool that automatically upgrades input files. See
3325 See @ref{convert-ly} for more information on @code{convert-ly}.
3333 @subsubsection Pitch names
3334 @cindex Lexical modes
3338 @cindex chord modifier names
3340 Note names and chord modifiers can be customised for nationalities.
3341 languages and conventions. The syntax is as follows.
3342 @cindex @code{\pitchnames}
3343 @cindex @code{\chordmodifiers}
3346 \pitchnames @var{scheme-alist}
3347 \chordmodifiers @var{scheme-alist}
3350 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
3351 specific examples how to do this. tables can be tailored specified
3352 using. Some national note names have been provided, see
3353 section @ref{Other languages}.
3354 A @code{\paper} block at top level sets the default paper block. A
3355 @code{\midi} block at top level works similarly.
3358 @subsubsection Assignments
3362 Identifier assignments may appear at top level. @ref{Assignments}
3367 @subsubsection Direct scheme
3368 @cindex Direct scheme
3370 Scheme statements maybe issued to produce interesting side-effects.
3375 @subsection Lexical modes
3376 @cindex Lexical modes
3378 @cindex Lexical modes
3381 To simplify entering notes, lyrics, and chords, LilyPond has three
3382 special input modes on top of the default mode. In each mode, words
3383 are identified on the input. If @code{"word"} is encountered, it is
3384 treated as a string. If @code{\word} is encountered, it is treated as
3385 a keyword or as an identifier. The behavior of the modes differs in
3386 two ways: Different modes treat unquoted words differently, and
3387 different modes have different rules for deciding what is a word.
3393 At the start of parsing, LilyPond is in Normal mode. In Normal
3394 mode, a word is an alphabetic character followed by alphanumeric
3395 characters. If @code{word} is encountered on the input it is
3396 treated as a string.
3399 See @ref{Note entry}.
3402 See @ref{Lyrics entry}.
3405 See @ref{Chord entry}.
3412 @cindex @code{\notes}
3413 @cindex @code{\chords}
3414 @cindex @code{\lyrics}
3416 Mode switching keywords form compound music expressions: @code{\notes}
3417 @var{musicexpr}, @code{\chords} @var{musicexpr},
3418 and @code{\lyrics} @var{musicexpr}. These
3419 expressions do not add anything to the meaning of their arguments. They
3420 are just a way to indicate that the arguments should be parsed in
3421 indicated mode. See @ref{Lexical modes} for more information on modes.
3425 @subsection Ambiguities
3430 The grammar contains a number of ambiguities. We hope to resolve them at
3434 @item The assignment
3440 can be interpreted as making a string identifier @code{\foo}
3441 containing @code{"bar"}, or a music identifier @code{\foo}
3442 containing the syllable `bar'.
3444 @item The assignment
3450 can be interpreted as making an integer identifier
3451 containing -6, or a Request identifier containing the
3452 fingering `6' (with neutral direction).
3454 @item If you do a nested repeat like
3466 then it is ambiguous to which @code{\repeat} the
3467 @code{\alternative} belongs. This is the classic if-then-else
3468 dilemma. It may be solved by using braces.
3470 @item (an as yet unidentified ambiguity :-)
3486 @unnumberedsubsec Translation property
3488 @cindex @code{\property}
3490 \property @var{contextname}.@var{propname} = @var{value}
3493 Sets the @var{propname} property of the context @var{contextname} to
3494 the specified @var{value}. All three arguments are strings.
3495 Depending on the context, it may be necessary to quote the strings or
3496 to leave space on both sides of the dot.
3498 @cindex translator switches
3499 @unnumberedsubsec Translator switches
3501 @cindex @code{\translator}
3503 \translator @var{contexttype} = @var{name}
3506 A music expression indicating that the context which is a direct
3507 child of the a context of type @var{contexttype} should be shifted to
3508 a context of type @var{contexttype} and the specified name.
3510 Usually this is used to switch staffs in Piano music, e.g.
3513 \translator Staff = top @var{Music}
3517 @cindex output properties
3518 @unnumberedsubsec Output properties
3520 These allow you to tweak what is happening in the back-end
3521 directly. If you want to control every detail of the output
3522 formatting, this is the feature to use. The downside to this is that
3523 you need to know exactly how the backend works. Example:
3526 @lilypond[fragment,verbatim]
3528 \context Staff \outputproperty
3529 #(make-type-checker 'note-head-interface)
3530 #'extra-offset = #'(5.0 . 7.5)
3534 This selects all note heads occurring at current staff level, and sets
3535 the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
3538 Use of this feature is entirely on your own risk: if you use this, the
3539 result will depend very heavily on the implementation of the backend,
3540 which we change regularly and unscrupulously.
3543 @c.{Local emacs vars}
3546 @c minor-mode: font-lock
3547 @c minor-mode: outline
3548 @c outline-layout: (-1 : 0)
3549 @c outline-use-mode-specific-leader: "@c\."
3550 @c outline-primary-bullet: "{"
3551 @c outline-stylish-prefixes: nil
3552 @c outline-override-protect: t