4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
11 @unnumberedsubsec Bugs
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
21 This document describes GNU LilyPond and its input format. The last
22 revision of this document was for LilyPond 1.3.138.
44 * Interpretation context::
54 The purpose of LilyPond is explained informally by the term `music
55 typesetter'. This is not a fully correct name: not only does the
56 program print musical symbols, it also makes esthetic decisions.
57 Symbols and their placements are @emph{generated} from a high-level
58 musical description. In other words, LilyPond would be best described
59 by `music compiler' or `music to notation compiler'.
61 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
62 Scheme library provides the glue that holds together the low-level
63 routines and separate modules general, which are C++
65 When lilypond is run to typeset sheet music, the following happens:
67 @item GUILE Initialization: various scheme files are read
68 @item parsing: first standard @code{ly} initialization files are read, and
69 then the user @file{ly} file is read.
70 @item interpretation: the music in the file is processed ``in playing
71 order'', i.e. the order that you use to read sheet music, or the
72 order in which notes are played.
75 in this step, the results of the interpretation, a typesetting
76 specification, is solved.
78 @item the visible results ("virtual ink") is written to the output file.
81 During these stages different types of data play the the main role:
82 during parsing, @strong{Music} objects are created. During the
83 interpretation, @strong{context} is constructed, and with this context
84 af network of @strong{graphical objects} (``grobs'') is created. The
85 grobs contain unknown variables, and the network forms a set of
86 equations. After solving the equations and filling in these variables,
87 the printed output (in the form of @strong{molecules}) is written to an
90 These threemanship of tasks (parsing, translating, typesetting) and
91 data-structures (music, context, graphical objects) permeates the entire
92 design of the program. This manual is ordered in terms of user
93 tasks. With each concept will be explained to which of the three parts
102 The most basic forms of music are notes. We discuss how you enter them
103 here. Notes on their own don't form valid input, but for the sake of
104 brevity we omit obligotary lint such as @code{\score} blocks and
105 @code{\paper} declarations.
110 * Defining pitch names::
113 * Easy Notation note heads ::
126 @cindex Note specification
128 @cindex entering notes
130 The verbose syntax for pitch specification is
132 @cindex @code{\pitch}
134 \pitch @var{scmpitch}
137 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
139 In Note and Chord mode, pitches may be designated by names. The default
140 names are the Dutch note names. The notes are specified by the letters
141 @code{a} through @code{g} (where the octave is formed by notes ranging
142 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
143 middle C and the letters span the octave above that C.
145 @cindex note names, Dutch
147 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
148 name. A flat is formed by adding @code{-es}. Double sharps and double
149 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
150 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
151 both forms are accepted.
153 LilyPond has predefined sets of notenames for various other languages.
154 To use them, simply include the language specific init file. For
155 example: @code{\include "english.ly"}. The available language files and
156 the names they define are:
159 Note Names sharp flat
160 nederlands.ly c d e f g a bes b -is -es
161 english.ly c d e f g a bf b -s/-sharp -f/-flat
162 deutsch.ly c d e f g a b h -is -es
163 norsk.ly c d e f g a b h -iss/-is -ess/-es
164 svenska.ly c d e f g a b h -iss -ess
165 italiano.ly do re mi fa sol la sib si -d -b
166 catalan.ly do re mi fa sol la sib si -d/-s -b
174 The optional octave specification takes the form of a series of
175 single quote (`@code{'}') characters or a series of comma
176 (`@code{,}') characters. Each @code{'} raises the pitch by one
177 octave; each @code{,} lowers the pitch by an octave.
179 @lilypond[fragment,verbatim,center]
180 c' c'' es' g' as' gisis' ais'
183 @c . {Defining pitch names}
184 @node Defining pitch names
185 @subsection Defining pitch names
187 @cindex defining pitch names
188 @cindex pitch names, defining
190 Note names and chord modifiers can be customised for nationalities. The
191 syntax is as follows.
193 @cindex @code{\pitchnames}
194 @cindex @code{\chordmodifiers}
196 \pitchnames @var{scheme-alist}
197 \chordmodifiers @var{scheme-alist}
200 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
201 specific examples how to do this.
207 @subsection Durations
211 @cindex @code{\duration}
213 The syntax for a verbose duration specification is
215 \duration @var{scmduration}
217 Here, @var{scmduration} is a Scheme object of type Duration. See
218 @ref{Duration} for more information.
221 In Note, Chord, and Lyrics mode, durations may be designated by numbers
222 and dots: durations are entered as their reciprocal values. For notes
223 longer than a whole note, use identifiers.
229 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
231 r1 r2 r4 r8 r16 r32 r64 r64
237 \notes \relative c'' {
238 a\longa a\breve \autoBeamOff
239 a1 a2 a4 a8 a16 a32 a64 a64
241 r1 r2 r4 r8 r16 r32 r64 r64
246 \remove "Clef_engraver";
247 \remove "Staff_symbol_engraver";
248 \remove "Time_signature_engraver";
249 \consists "Pitch_squash_engraver";
256 As you can see, the longa is not printed. To get a longa note head, you
257 have to use a mensural note heads. This is done accomplished by setting
258 the @code{style} property of the NoteHead grob to @code{mensural}.
260 If the duration is omitted then it is set to the previous duration
261 entered. At the start of parsing a quarter note is assumed. The
262 duration can be followed by a dot (`@code{.}') to obtain dotted note
266 @lilypond[fragment,verbatim,center]
272 You can alter the length of duration by appending
273 `@code{*}@var{fraction}'. This will not affect the appearance of the
274 notes or rests produced.
280 A note specification has the form
283 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
286 LilyPond will determine what accidentals to typeset depending on the key
287 and context. The alteration refers to what note is heard, not to whether
288 an accidental is printed. A reminder accidental
289 @cindex reminder accidental
291 can be forced by adding an exclamation mark @code{!} after the pitch. A
292 cautionary accidental,
293 @cindex cautionary accidental
294 i.e., an accidental within parentheses can be obtained by adding the
295 question mark `@code{?}' after the pitch.
297 @lilypond[fragment,verbatim,center]
298 cis' d' e' cis' c'? d' e' c'!
302 @node Easy Notation note heads
303 @subsection Easy Notation note heads
305 @cindex easy notation
308 A entirely different type of note head is the "easyplay" note head: a
309 note head that includes a note name. It is used in some publications by
310 Hal-Leonard Inc. music publishers.
312 @lilypond[singleline,verbatim]
313 \include "paper26.ly"
315 \notes { c'2 e'4 f' | g'1 }
316 \paper { \translator { \EasyNotation } }
320 Note that @code{EasyNotation} overrides a @code{Score} context. You
321 probably will want to print it with magnification to make it better
327 If you view the result with Xdvi, then staff lines will show through the
328 letters. Printing the postscript file obtained either by using dvips or
329 the @code{-f ps} option of lilypond will produce the desired result.
339 A tie connects two adjacent note heads of the same pitch. When used
340 with chords, it connects all of the note heads whose pitches match.
341 Ties are indicated using the tilde symbol `@code{~}'.
342 If you try to tie together chords which have no common pitches, a
343 warning message will appear and no ties will be created.
345 @lilypond[fragment,verbatim,center]
346 e' ~ e' <c' e' g'> ~ <c' e' g'>
349 If you dislike the amount of ties created for a chord, you set
350 @code{Voice.sparseTies} to true, resulting in a smaller number of
352 @lilypond[fragment,verbatim,center]
354 % \property Voice.sparseTies = ##t
355 <c' e' g'> ~ <c' e' g'>
358 In its meaning a tie is just a way of extending a note duration, similar
359 to the augmentation dot: the following example are three ways of notating
360 exactly the same concept.
361 @lilypond[fragment, singleline]
367 At present, the tie is implemented as a separate thing, temporally
368 located in between the notes. There is also no way to convert
369 between tied notes, dotted notes and plain notes.
371 Tieing only a subset of the note heads of a chord is not supported in a
372 simple way. It can be achieved by moving the tie-engraver into Thread
373 context and turning off ties per Thread.
381 @cindex @code{\times}
383 Tuplets are made out of a music expression by multiplying their duration
386 @cindex @code{\times}
388 \times @var{fraction} @var{musicexpr}
391 The duration of @var{musicexpr} will be multiplied by the fraction.
392 In print, the fraction's denominator will be printed over the notes,
393 optionally with a bracket. The most common tuplet is the triplet in
394 which 3 notes have the length of 2, so the notes are 2/3 of
395 their written length:
397 @lilypond[fragment,verbatim,center]
398 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
401 The property @code{tupletSpannerDuration} specifies how long brackets
402 should last. With this, you can make lots of tuplets while typing
403 @code{\times} only once. This saves typing work when you must make lots
406 @lilypond[fragment, relative, singleline, verbatim]
407 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
408 \times 2/3 { c''8 c c c c c }
416 Rests are entered like notes, with note name `@code{r}'.
426 \skip @var{duration} @code{;}
431 Skips the amount of time specified by @var{duration}. If no other music
432 is played, a gap will be left for the skipped time with no notes
433 printed. The short hand is only available in Note and Chord mode.
438 @subsection Note mode
443 @cindex @code{\notes}
445 Note mode is the lexical mode generally used for inputting notes. The
451 This instructs the tokenizer to interpret @var{expr} in note mode. If a
452 a sequence of alfabetical characters, like @code{foobar}, LilyPond first
453 checks if @code{foobar} is a pitch name. If it is not a pitch name,
454 then it is treated as a string.
456 Numbers and dots indicate durations, so you can enter floating point
457 numbers in this mode.
461 @section Staff notation
463 @cindex Staff notation
474 @subsection Key signature
479 Changing the key signature is done with the @code{\key} command.
481 @code{\key} @var{pitch} @var{type} @code{;}
484 @cindex @code{\minor}
485 @cindex @code{\major}
486 @cindex @code{\minor}
487 @cindex @code{\ionian}
488 @cindex @code{\locrian}
489 @cindex @code{\aeolian}
490 @cindex @code{\mixolydian}
491 @cindex @code{\lydian}
492 @cindex @code{\phrygian}
493 @cindex @code{\dorian}
495 Here, @var{type} should be @code{\major} or @code{\minor} to get
496 @var{pitch}-major or @var{pitch}-minor, respectively. The second
497 argument is optional; the default is major keys. The @var{\context}
498 argument can also be given as an integer, which tells the number of
499 semitones that should be added to the pitch given in the subsequent
500 @code{\key} commands to get the corresponding major key, e.g.,
501 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
502 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
503 @code{\phrygian}, and @code{\dorian} are also defined.
505 This command sets context property @code{Staff.keySignature}.
507 @cindex @code{keySignature}
510 @subsection Clef changes
513 \clef @var{clefname} @code{;}
519 \property Staff.clefGlyph = @var{glyph associated with clefname}
520 \property Staff.clefPosition = @var{clef Y-position for clefname}
521 \property Staff.clefOctavation = @var{extra pitch of clefname}
524 Supported clef-names include
527 @item treble, violin, G, G2: G clef on 2nd line
528 @item french: G clef on 1st line
529 @item soprano: C clef on 1st line
530 @item mezzosoprano: C clef on 2nd line
531 @item alto: C clef on 3rd line
532 @item tenor: C clef on 4th line
533 @item baritone: C clef on 5th line
534 @item varbaritone: F clef on 3rd line
535 @item bass, F: F clef on 4th line
536 @item subbass: F clef on 5th line
537 @item percussion: percussion clef
540 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
543 @item clefs-C: modern style C clef
544 @item clefs-F: modern style F clef
545 @item clefs-G: modern style G clef
546 @item clefs-vaticana_do: Editio Vaticana style do clef
547 @item clefs-vaticana_fa: Editio Vaticana style fa clef
548 @item clefs-medicaea_do: Editio Medicaea style do clef
549 @item clefs-medicaea_fa: Editio Medicaea style fa clef
550 @item clefs-mensural1_c: modern style mensural C clef
551 @item clefs-mensural2_c: historic style small mensural C clef
552 @item clefs-mensural3_c: historic style big mensural C clef
553 @item clefs-mensural1_f: historic style traditional mensural F clef
554 @item clefs-mensural2_f: historic style new mensural F clef
555 @item clefs-mensural_g: historic style mensural G clef
556 @item clefs-hufnagel_do: historic style hufnagel do clef
557 @item clefs-hufnagel_fa: historic style hufnagel fa clef
558 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
559 @item clefs-percussion: modern style percussion clef
562 @emph{Modern style} means ``as is typeset in current editions.''
563 @emph{Historic style} means ``as was typeset or written in contemporary
564 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
567 @cindex Vaticana, Editio
568 @cindex Medicaea, Editio
569 @cindex hufnagel clefs
572 @c . {Time signature}
574 @subsection Time signature
575 @cindex Time signature
579 The time signature is changed by the @code{\time} command. Syntax:
581 \time @var{numerator}@code{/}@var{denominator} @code{;}
583 Internally, this is a short-cut for doing
585 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
588 [TODO: discuss options for layout]
595 @cindex partial measure
596 @cindex measure, partial
597 @cindex shorten measures
598 @cindex @code{\partial}
600 Partial measures are entered using the @code{\partial} command:
602 \partial @var{duration} @code{;}
605 Internally, this is a short cut for
608 \property Score.measurePosition = -@var{length of duration}
613 @node Unmetered music
614 @subsection Unmetered music
616 Bar lines and bar numbers are calculated automatically. For unmetered
617 music (e.g. cadenzas), this is not desirable. The property
618 @code{Score.timing} can be used to switch off this automatic timing
620 @lilypond[fragment,relative,singleline,verbatim]
622 \property Score.timing = ##f
624 \property Score.timing = ##t
628 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
629 achieve the same effect.
635 @subsection Bar lines
639 @cindex measure lines
646 This is a short-cut for doing
648 \property Score.whichBar = @var{bartype}
651 You are encouraged to use @code{\repeat} for repetitions. See
652 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
656 @cindex Bar_line_engraver
658 @cindex repeatCommands
659 @cindex defaultBarType
661 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
662 @code{whichBar} at every moment. Whenever it is set to a string, it will
663 create a bar with that type. @code{whichBar} is usually set
664 automatically: at the start of a measure it is set to
665 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
666 override default measure bars.
668 @code{whichBar} can also be set directly, using @code{\property} or
669 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
678 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
679 which contexts to instantiate. some small examples? ]
683 @cindex @code{\shiftOff}
684 @item @code{\shiftOff}
685 Disable horizontal shifting of note heads that collide.
687 @cindex @code{\shiftOn}
688 @item @code{\shiftOn}
689 Enable note heads that collide with other note heads to be
690 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
691 set different shift values.
693 @cindex @code{\stemBoth}
694 @item @code{\stemBoth}
695 Allow stems and beams to point either upwards or
696 downwards, decided automatically by LilyPond.
698 @cindex @code{\stemDown}
699 @item @code{\stemDown}
700 Force stems and beams to point down.
702 @cindex @code{\stemUp}
704 Force stems and beams to point up.
707 @cindex @code{\slurBoth}
708 @cindex @code{\slurDown}
709 @cindex @code{\slurUp}
710 Similarly, for slurs use
714 @cindex @code{\slurBoth}
715 @cindex @code{\slurDown}
716 @cindex @code{\slurUp}
722 @cindex @code{\voiceOne}
723 @cindex @code{\voiceTwo}
724 @cindex @code{\voiceThree}
725 @cindex @code{\voiceFour}
726 @cindex @code{\oneVoice}
727 @cindex @code{\shiftOn}
728 @cindex @code{\shiftOff}
730 If two voices sharing one staff have the same stem directions, their
731 note heads may collide. You can shift the note heads of one voice by
732 setting @code{\shiftOn}. This can be undone by setting
735 For simple polyphonic music, shorthands are available that combine
736 directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
737 @code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
743 Beams are used to group short notes into chunks that are aligned with
744 the metrum. LilyPond guesses where beams should be inserted, but if
745 you're not satisfied with the automatic beaming, you can either instruct
746 lilypond which patterns to beam automatically. In specific cases, you
747 can also specify explicitly what to beam and what not.
750 @c . {Automatic beams}
751 @subsection Automatic beams
753 @cindex @code{Voice.autoBeamSettings}
754 @cindex @code{(end * * * *)}
755 @cindex @code{(begin * * * *)}
757 A large number of Voice properties are used to decide how to generate
758 beams. Their default values appear in @file{scm/auto-beam.scm}.
760 By default, automatic beams can start on any note@footnote{In exotic
761 time signatures such as 1/8 and 1/16 this is not true} but can only end
762 in a few positions within the measure: they can end on a beat, or at
763 durations specified by the properties in
764 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
765 are defined in @file{scm/auto-beam.scm}.
767 The syntax for changing the value @code{autoBeamSettings} is set using
768 @code{\override} and unset using @code{\revert}:
770 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
771 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
773 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
774 whether the rule applies to begin or end-points. The quantity
775 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
776 designate all time signatures), @var{P}/@var{Q} refers to the length of
777 the beamed notes (@code{* *} designate notes of any length).
779 If you want automatic beams to end on every quarter note, you can
782 \property Voice.autoBeamSettings \override
783 #'(end * * * *) = #(make-moment 1 4)
785 The duration a quarter note is 1/4 of a whole note. It is entered as
786 @code{(make-moment 1 4)}.
788 The same syntax can be used to specify beam starting points. In this
789 example, you automatic beams can only end on a dotted quarter note.
791 \property Voice.autoBeamSettings \override
792 #'(begin * * * *) = #(make-moment 3 8)
794 In 4/4 time signature, this means that automatic beams could end only on
795 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
796 3/8 has passed within the measure).
798 You can also restrict rules to specific time signatures. A rule that
799 should only be applied in @var{N}/@var{M} time signature is formed by
800 replacing the first asterisks by @var{N} and @var{M}. For example, a
801 rule for 6/8 time exclusively looks like
803 \property Voice.autoBeamSettings \override
804 #'(begin 6 8 * *) = ...
807 If you want a rule to apply to certain types of beams, you can use the
808 second pair of asterisks. Beams are classified according to the shortest
809 note they contain. For a beam ending rule that only applies to beams
810 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
813 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
815 Automatic beams can not be put on the last note in a score.
817 @cindex automatic beam generation
819 @cindex @code{Voice.noAutoBeaming}
821 Automatic beaming is on by default, but it can switched off by setting
822 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
823 a melody that goes with lyrics.
826 @cindex Automatic beams
827 @subsection Manual beams
828 @cindex beams, manual
832 In some cases it may be necessary to override LilyPond's automatic
833 beaming algorithm. For example, the auto beamer will not beam over
834 rests or bar lines, so if you want that, specify the begin and end point
835 manually using @code{[} and @code{]}:
838 @lilypond[fragment,relative,verbatim]
840 r4 [r8 g'' a r8] r8 [g | a] r8
843 Whenever an manual beam is busy, the auto beam will not produce
846 @cindex @code{stemLeftBeamCount}
848 If you have specific wishes for the number of beams, you can fully
849 control the number of beams through the properties
850 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
852 @lilypond[fragment,relative,verbatim]
855 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
859 @cindex @code{stemRightBeamCount}
861 The beam symbol can be tweaked through @code{Voice.Beam}'s
862 grob-properties @code{height} and @code{staff-position},
865 Set @code{height} to zero, to get horizontal beams:
868 @lilypond[fragment,relative,verbatim]
869 \property Voice.Beam \set #'direction = #1
870 \property Voice.Beam \set #'height = #0
875 Here's how you'd specify a weird looking beam that instead of being
876 horizontal, falls two staff spaces:
879 @lilypond[fragment,relative,verbatim]
880 \property Voice.Beam \set #'staff-position = #2
881 \property Voice.Beam \set #'height = #-2
885 @cindex @code{default-neutral-direction}
887 @node Expressive marks
888 @section Expressive marks
903 A slur indicates that notes are to be played bound or @emph{legato}. In
904 lilypond, they are entered using parentheses:
905 @lilypond[fragment,verbatim,center]
906 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
910 Slurs avoid crossing stems, and are attached to note heads whenever
911 possible. In some instances involving beams slurs may be attached to a
912 stem end. If you want to override this layout you can do this through
913 @code{Voice.Slur}'s grob-property @code{attachment}:
915 Maybe reinclude other slur features and move back to tricks? Esp. the
916 second example, how to fix, can be very helpful.
919 @lilypond[fragment,relative,verbatim]
920 \property Voice.Slur \set #'direction = #1
921 \property Voice.Stem \set #'length = #5.5
923 \property Voice.Slur \set #'attachment = #'(stem . stem)
928 If a slur would strike through a stem or beam, the slur will be moved
929 away upward or downward. If this happens, attaching the slur to the
930 stems might look better:
933 @lilypond[fragment,relative,verbatim]
934 \property Voice.Stem \set #'direction = #1
935 \property Voice.Slur \set #'direction = #1
937 \property Voice.Slur \set #'attachment = #'(stem . stem)
943 Similarly, the curvature of a slur is adjusted to stay clear of note
944 heads and stems. When that would increase the curvature too much, the
945 slur is reverted to its default shape. The threshold for this decision
946 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
947 related to the enclosed area between the slur and the notes. Usually,
948 the default setting works well, but in some cases you may prefer a
949 curved slur when LilyPond decides for a vertically moved one. You can
950 express this by increasing the @code{beautiful} value:
952 @lilypond[verbatim,singleline,relative]
953 \property Voice.Beam \override #'direction = #-1
954 \property Voice.Slur \override #'direction = #1
955 c'16( a' f' a a f a, )c,
957 \property Voice.Slur \override #'beautiful = #5.0
963 The definition for @code{beautiful} is vague, the default setting is
964 experimental computer science.
966 @cindex Adusting slurs
969 @subsection Phrasing slur
971 @cindex phrasing slur
972 @cindex phrasing mark
974 A phrasing slur (or phrasing mark) connects chords and is used to
975 indicate a musical sentence. It is entered using @code{\(} and
978 @lilypond[fragment,verbatim,center,relative]
979 \time 6/4; c''\((d)e f(e)\)d
982 Typographically, the phrasing slur behaves almost exactly like a normal
983 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
986 @subsection Breath marks
988 Breath marks are entered using @code{\breathe}:
990 @lilypond[fragment,relative]
994 Currently, only tick marks are supported, comma style breath marks are
995 not. The grob for this object is called @code{Voice.BreathingSign}.
1000 Currently, only tick marks are supported, comma style breath marks are
1008 @cindex beats per minute
1009 @cindex metronome marking
1011 @cindex @code{\tempo}
1013 \tempo @var{duration} = @var{perminute} @code{;}
1016 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1017 output with 76 quarter notes per minute.
1021 The tempo setting is not printed, but is currently only used in the MIDI
1027 @subsection Text spanner
1028 @cindex Text spanner
1030 Some textual indications, e.g. rallentando, accelerando, often extend
1031 over a many measures. This is indicated by following the text with a
1032 dotted line. You can create such texts in LilyPond using
1033 text spanners. The syntax is as follows:
1035 \spanrequest \start "text"
1036 \spanrequest \stop "text"
1038 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1039 string to be printed, as well as the style is set through grob
1042 An application---or rather, a hack---is to fake octavation indications.
1043 @lilypond[fragment,relative,verbatim]
1044 \relative c' { a'''' b c a
1045 \property Voice.TextSpanner \set #'type = #'dotted-line
1046 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1047 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1048 \property Staff.centralCPosition = #-13
1049 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1065 @subsection Articulation
1066 @cindex Articulation
1068 @cindex articulations
1072 A variety of symbols can appear above and below notes to indicate
1073 different characteristics of the performance. These symbols can be
1074 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1075 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1076 forced to appear above or below the note by writing
1077 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1078 respectively. Here is a chart showing symbols above notes, with the
1079 name of the corresponding symbol appearing underneath.
1084 \property Score.LyricSyllable \override #'font-family =
1086 \property Score.LyricSyllable \override #'font-shape = #'upright
1087 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1088 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1089 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1090 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1091 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1092 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1093 c''-\thumb c''-\segno c''-\coda
1095 \context Lyrics \lyrics {
1096 accent__ marcato__ staccatissimo__ fermata
1097 stopped__ staccato__ tenuto__ upbow
1098 downbow__ lheel__ rheel__ ltoe
1099 rtoe__ turn__ open__ flageolet
1100 reverseturn__ trill__ prall__ mordent
1101 prallprall__ prallmordent__ uprall__ downprall
1102 thumb__ segno__ coda
1106 linewidth = 5.875\in;
1112 To save typing work, some shorthands are available:
1113 @lilypond[singleline]
1115 \notes \context Voice {
1116 \property Voice.TextScript \set #'font-family = #'typewriter
1117 \property Voice.TextScript \set #'font-shape = #'upright
1123 c''4-^_"c-\\^{ }" s4
1130 Fingering instructions can also be entered in this shorthand.
1131 @lilypond[verbatim, singleline, fragment]
1132 c'4-1 c'4-2 c'4-3 c'4-4
1136 @cindex @code{\script}
1145 Defines a script printing request. The argument is a string which
1146 points into the script-alias table defined in @file{scm/script.scm}.
1147 Usually the @code{\script} keyword is not used directly. Various
1148 helpful identifier definitions appear in @file{script.ly}.
1150 For information on how to add scripts, consult @file{scm/script.scm}.
1155 All of these note ornaments appear in the printed output but have no
1156 effect on the MIDI rendering of the music.
1158 Unfortunately, there is no support adding fingering instructions or
1159 ornaments to individual note heads. Some hacks exist, though. See
1160 @file{input/test/script-horizontal.ly}.
1165 @subsection Text scripts
1166 @cindex Text scripts
1168 In addition, it is possible to place arbitrary strings of text or markup
1169 text (see @ref{Text markup}) above or below notes by using a string:
1170 @code{c^"text"}. The text is typeset in italic by default.
1172 The amount of space taken by these indications by default does not
1173 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1174 take the widths into account. The identifier @code{\fattext} is defined
1175 in the standard includes.
1176 @lilypond[fragment,singleline,verbatim]
1177 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1180 Text scripts are created in form of @code{Voice.TextScript} grobs.
1182 For purposes of defining identifiers, a more verbose form also exists:
1185 \textscript @var{text}
1188 Defines a text to be printed over or under a note. @var{text} is a
1189 string or a markup text.
1193 foo = \textscript #'(finger "6")
1200 This is equivalent to @code{c4-6 c4-"foo"}.
1205 @subsection Grace notes
1214 @cindex @code{\grace}
1217 @cindex @code{graceAlignPosition}
1219 Grace notes are ornaments that are written out, but do not take up any
1220 logical time in a measure. LilyPond has limited support for grace notes.
1221 The syntax is as follows.
1223 \grace @var{musicexpr}
1226 When grace music is interpreted, a score-within-a-score is set up:
1227 @var{musicexpr} has its own time bookkeeping, and you could (for
1228 example) have a separate time signature within grace notes. While in
1229 this score-within-a-score, you can create notes, beams, slurs, etc.
1230 Unbeamed eighth notes and shorter by default have a slash through the
1231 stem. This behavior can be controlled with the
1232 @code{Stem}.@code{flag-style} property.
1235 @lilypond[fragment,verbatim]
1237 \grace c8 c4 \grace { [c16 c16] } c4
1238 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1245 At present, nesting @code{\grace} notes is not supported. The following
1246 may cause run-time errors:
1248 @code{\grace @{ \grace c32 c16 @} c4}
1250 Since the meaning of such a construct is unclear, we don't consider this
1251 a loss. Similarly, juxtaposing two @code{\grace} sections is
1252 syntactically valid, but makes no sense and may cause runtime errors.
1253 Ending a staff or score with grace notes may also generate a run-time
1254 error, since there will be no main note to attach the grace notes to.
1257 A grace note expression has duration 0; the next real note is assumed to
1258 be the main note. If you want the note to appear after the main note,
1259 set @code{Voice.graceAlignPosition} to @code{1}.
1263 The present implementation of grace notes is not robust and generally
1264 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1265 also be implemented.
1278 @subsubsection Glissando
1281 @cindex @code{\glissando}
1283 A glissando line can be requested by attaching a @code{\glissando} to a
1287 @lilypond[fragment,relative,verbatim]
1294 Printing of an additional text (such as @emph{gliss.}) must be done
1301 @subsubsection Dynamics
1314 @cindex @code{\ffff}
1324 Absolute dynamic marks are specified by using an identifier after a
1325 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1326 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1327 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1328 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1331 @cindex Crescendo and Decrescendo
1335 @cindex @code{\decr}
1336 @cindex @code{\rced}
1342 A crescendo mark is started with @code{\cr} and terminated with
1343 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1344 started with @code{\decr} and terminated with @code{\rced}. There are
1345 also shorthands for these marks. A crescendo can be started with
1346 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1347 can be terminated with @code{\!}. Note that @code{\!} must go before
1348 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1349 after the last note. Because these marks are bound to notes, if you
1350 want to get several marks during one note, you must use spacer notes.
1352 @lilypond[fragment,verbatim,center]
1353 c'' \< \! c'' d'' \decr e'' \rced
1354 < f''1 { s4 \< \! s2 \> \! s4 } >
1359 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1360 is an example how to do it:
1362 @lilypond[fragment,relative,verbatim]
1364 \property Voice.crescendoText = "cresc."
1365 \property Voice.crescendoSpanner = #'dashed-line
1381 @cindex @code{\repeat}
1383 To specify repeats, use the @code{\repeat} keyword. Since repeats
1384 should work differently when played or printed, there are a few
1385 different variants of repeats.
1389 Repeated music is fully written (played) out. Useful for MIDI
1393 This is the normal notation: Repeats are not written out, but
1394 alternative endings (voltas) are printed, left to right.
1397 Alternative endings are written stacked. Which is unfortunately not
1398 practical for anything right now.
1404 Make measure repeats. These look like percent signs.
1410 * Manual repeat commands::
1412 * Tremolo subdivision::
1417 @subsection Repeat syntax
1419 The syntax for repeats is
1422 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1425 If you have alternative endings, you may add
1426 @cindex @code{\alternative}
1428 \alternative @code{@{} @var{alternative1}
1430 @var{alternative3} @dots{} @code{@}}
1432 where each @var{alternative} is a music expression.
1434 Normal notation repeats are used like this:
1435 @lilypond[fragment,verbatim]
1437 \repeat volta 2 { c'4 d' e' f' }
1438 \repeat volta 2 { f' e' d' c' }
1441 With alternative endings:
1443 @lilypond[fragment,verbatim]
1445 \repeat volta 2 {c'4 d' e' f'}
1446 \alternative { {d'2 d'} {f' f} }
1450 Folded repeats look like this:@footnote{Folded repeats offer little
1451 more over simultaneous music. However, it is to be expected that
1452 more functionality -- especially for the MIDI backend -- will be
1453 implemented at some point in the future.}
1456 @lilypond[fragment,verbatim]
1458 \repeat fold 2 {c'4 d' e' f'}
1459 \alternative { {d'2 d'} {f' f} }
1465 If you don't give enough alternatives for all of the repeats, then
1466 the first alternative is assumed to be repeated often enough to equal
1467 the specified number of repeats.
1470 @lilypond[fragment,verbatim]
1474 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1475 \alternative { { g4 g g } { a | a a a a | b2. } }
1483 As you can see, LilyPond doesn't remember the timing information, nor
1484 are slurs or ties repeated, so you have to reset timing information
1485 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1486 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1489 It is possible to nest @code{\repeat}, although it probably is only
1490 meaningful for unfolded repeats.
1492 @node Manual repeat commands
1493 @subsection Manual repeat commands
1495 @cindex @code{repeatCommands}
1497 The property @code{repeatCommands} can be used to control the layout of
1498 repeats. Its value is a Scheme list of repeat commands, where each repeat
1506 @item (volta . @var{text})
1507 Print a volta bracket saying @var{text}.
1509 Stop a running volta bracket
1512 @lilypond[verbatim, fragment]
1514 \property Score.repeatCommands = #'((volta "93") end-repeat)
1516 \property Score.repeatCommands = #'((volta #f))
1521 @node Tremolo repeats
1522 @subsection Tremolo repeats
1523 @cindex tremolo beams
1525 To place tremolo marks between notes, use @code{\repeat} with tremolo
1527 @lilypond[verbatim,center,singleline]
1529 \context Voice \notes\relative c' {
1530 \repeat "tremolo" 8 { c16 d16 }
1531 \repeat "tremolo" 4 { c16 d16 }
1532 \repeat "tremolo" 2 { c16 d16 }
1533 \repeat "tremolo" 4 c16
1541 At present, the spacing between tremolo beams is not regular, since the
1542 spacing engine does not notice that not all notes are printed.
1544 @node Tremolo subdivision
1545 @subsection Tremolo subdivision
1546 @cindex tremolo marks
1547 @cindex @code{tremoloFlags}
1549 Tremolo marks can be printed on a single note by adding
1550 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1551 A @var{length} value of 8 gives one line across the note stem. If the
1552 length is omitted, then then the last value (stored in
1553 @code{Voice.tremoloFlags}) is used.
1555 @lilypond[verbatim,fragment,center]
1558 Using this mechanism pays off when you entering many tremolos, since the
1559 default argument saves a lot of typing.
1564 Tremolos in this style do not carry over into the MIDI output.
1567 @node Measure repeats
1568 @subsection Measure repeats
1570 @cindex percent repeats
1571 @cindex measure repeats
1573 In the @code{percent} style, a note pattern can be repeated. It is
1574 printed once, and then the pattern is replaced with a special sign.
1576 @lilypond[verbatim,singleline]
1577 \context Voice { \repeat "percent" 5 { c'1 } }
1580 At present, only repeats of whole measures are supported.
1582 @node Rhythmic music
1583 @section Rhythmic music
1590 @node Rhythmic staffs
1591 @subsection Rhythmic staffs
1593 Some times you might want to show only the rhythm of a melody. This can
1594 be done with the rhythmic staff. All pitches of notes on such a staff
1595 are squashed, and the staff itself looks has a single staff line:
1597 @lilypond[fragment,relative ]
1598 \context RhythmicStaff {
1600 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1607 @section Piano music
1609 Piano music is an odd type of notation: two staffs are largely
1610 independent, but sometimes voices can cross between the two staffs. The
1611 @code{PianoStaff} is especially built to handle this cross-staffing
1612 behavior. In this section we discuss the @code{PianoStaff} and some
1613 other pianistic peculiarities.
1616 * Automatic staff changes::
1617 * Manual staff switches::
1624 @c . {Automatic staff changes}
1625 @node Automatic staff changes
1626 @subsection Automatic staff changes
1627 @cindex Automatic staff changes
1629 Voices can be switched from top to bottom staff automatically. The
1632 \autochange @var{contexttype} @var{musicexp}
1634 This will switch notation context of @var{musicexp} between a
1635 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1636 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1637 of pitch (central C is the turning point), and it looks ahead skipping
1638 over rests to switch rests in advance.
1640 @lilypond[verbatim,singleline]
1641 \score { \notes \context PianoStaff <
1642 \context Staff = "up" {
1643 \autochange Staff \context Voice = VA < \relative c' {
1644 g4 a b c d r4 a g } > }
1645 \context Staff = "down" {
1651 Note how spacer rests are used to prevent the bottom staff from
1652 terminating too soon.
1655 @node Manual staff switches
1656 @subsection Manual staff switches
1658 @cindex manual staff switches
1659 @cindex staff switch, manual
1661 Voices can be switched between staffs manually, using the following command:
1663 \translator Staff = @var{which} @var{music}
1665 The string @var{which} is the name of the staff. Typically it is
1666 @code{"up"} or @code{"down"}.
1668 Formally, this construct is a music expression indicating that the
1669 context which is a direct child of the a context of type
1670 @var{contexttype} should be shifted to a context of type
1671 @var{contexttype} and the specified name.
1673 @cindex @code{\translator}
1675 \translator @var{contexttype} = @var{name}
1684 Piano pedal instruction can be expressed using
1685 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1686 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1688 These identifiers are short hands for spanner commands of the types
1689 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1691 @lilypond[fragment,verbatim]
1692 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1695 The symbols that are printed can be modified by setting
1696 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1697 types. Refer to the generated documentation for more information.
1702 Currently, brackets are not supported, only text markings (ie. *Ped
1708 @subsection Arpeggio
1711 @cindex broken arpeggio
1712 @cindex @code{\arpeggio}
1714 You can specify an arpeggio sign on a chord by attaching an
1715 @code{\arpeggio} to a note of the chord.
1719 @lilypond[fragment,relative,verbatim]
1720 \context Voice <c'\arpeggio e g c>
1724 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1725 to the chords in both staffs, and set
1726 @code{PianoStaff.connectArpeggios}.
1729 @lilypond[fragment,relative,verbatim]
1730 \context PianoStaff <
1731 \property PianoStaff.connectArpeggios = ##t
1732 \context Voice = one { <c''\arpeggio e g c> }
1733 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1738 This command creates @code{Arpeggio} grobs.
1742 It is not possible to mix
1743 connected arpeggios and unconnected arpeggios at the same time.
1746 @c . {VoiceFollower}
1748 @subsection VoiceFollower
1750 @cindex follow voice
1751 @cindex staff switching
1754 @cindex @code{followVoice}
1756 Whenever a voice switches to another staff a line connecting the notes
1757 can be printed automatically. This is enabled if the property
1758 @code{PianoStaff.followVoice} is set to true:
1761 @lilypond[fragment,relative,verbatim]
1762 \context PianoStaff <
1763 \property PianoStaff.followVoice = ##t
1764 \context Staff \context Voice {
1766 \translator Staff=two
1769 \context Staff=two {\clef bass; \skip 1*2;}
1783 * Automatic syllable durations::
1789 @subsection Lyrics mode
1792 To print lyrics in LilyPond, you must first make a music expression from
1793 the lyric text. When they're in a music expression, that music
1794 expression can be printed by selecting an appropriate context. We shall
1795 discuss lyric printing in this order.
1799 @cindex @code{\lyrics}
1801 You can enter lyrics in a special input mode of LilyPond. This mode is
1802 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1803 The purpose of this mode is that you can enter lyrics as plain text,
1804 punctuation and accents without any hassle.
1806 The precise definition of this mode is in @ref{Lyrics mode
1807 definition}. The definition itself is ludicrous, and this will remain so
1808 until the authors of LilyPond acquire a deeper understanding of
1809 character encoding, or someone else steps up to fix this.
1811 Syllables are entered like notes, with pitches replaced by text. For
1812 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1813 the hyphen has no special meaning for lyrics, and does not introduce
1816 Spaces can be introduced into a lyric either by using quotes
1817 (@code{"}) or by using an underscore without quotes: @code{He_could4
1818 not4}. All unquoted underscores are converted to spaces.
1820 @c . {Printing lyrics}
1821 @node Printing lyrics
1822 @subsection Printing lyrics
1825 Normally, you will want to have notes and syllables matched
1826 automatically. This is accomplished using @code{\addlyrics}, which is
1827 documented in @ref{Automatic syllable durations}. Setting
1828 @code{automaticMelismata} in the melody staff, will cause slurs to be
1829 interpreted as melismata. Lyric syllables must be interpreted within a
1830 @code{Lyrics} context in order to printing them.
1832 @lilypond[verbatim,singleline]
1833 \addlyrics \notes \relative c' {
1835 \property Staff.automaticMelismata = ##t
1838 \context Lyrics \lyrics {
1840 share the so -- ftware; }
1844 @cindex lyric extender
1847 As you can see, extender lines are entered as @code{__}. This will
1848 create an extender, a line that extends over the entire duration of the
1849 lyric. This line will run all the way to the start of the next lyric,
1850 so you may want to shorten it by using a blank lyric (using @code{_}).
1854 If you want to have hyphens centered between syllables (rather than
1855 attached to the end of the first syllable) you can use the special
1856 `@code{-}@code{-}' lyric as a separate word between syllables. This
1857 will result in a hyphen which length varies depending on the space
1858 between syllables, and which will be centered between the syllables.
1860 @cindex Lyric hyphen
1862 @node Automatic syllable durations
1863 @subsection Automatic syllable durations
1864 @cindex Automatic syllable durations
1866 @cindex automatic lyric durations
1867 @cindex @code{\addlyrics}
1869 If you have lyrics that are set to a melody, you can import the rhythm
1870 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1873 \addlyrics @var{musicexpr1 musicexpr2}
1876 This means that both @var{musicexpr1} and @var{musicexpr2} are
1877 interpreted, but that every non-command atomic music expression
1878 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1879 of @var{musicexpr1}.
1880 @cindex @code{automaticMelismata}
1882 If the property @code{automaticMelismata} is set in the
1883 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1886 @lilypond[verbatim,fragment]
1889 \property Voice.automaticMelismata = ##t
1890 c8 () cis d8. e16 f2
1892 \context Lyrics \lyrics {
1896 If you want the lyric lines to be above the melody staff, or in some
1897 other, more complex configuration, then build that configuration first
1898 using simultaneous music, and use @code{\addlyrics} after that.
1900 @lilypond[verbatim, singleline]
1902 \context Lyrics = LA { s1 }
1903 \context Staff = SA { s1 }
1905 \context Staff = SA \relative c' { c4 e g g }
1906 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1909 For @code{\addlyrics} you should use a single rhythm melody, and single
1910 rhythm lyrics (a constant duration is the obvious choice). If you do
1911 not, you can get undesired effects when using multiple stanzas:
1913 @lilypond[verbatim,fragment]
1916 c8 () cis d8. e16 f2
1918 \context Lyrics \lyrics
1923 It is valid (but probably not very useful) to use notes instead of
1924 lyrics for @var{musicexpr2}.
1927 @subsection More stanzas
1931 If you have multiple stanzas printed underneath each other, the separate
1932 syllables should be aligned around punctuation. LilyPond can do this if
1933 you explain it which lyric lines belong to which melody.
1935 To this end, give the Voice context an identity, and set the LyricsVoice
1936 to name starting with that identity. In the following example, the Voice
1937 identity is @code{duet}, and the identities of the LyricsVoices are
1938 @code{duet-1} and @code{duet-2}.
1941 @lilypond[singleline,verbatim]
1944 \notes \relative c'' \context Voice = duet { \time 3/4;
1946 \lyrics \context Lyrics <
1947 \context LyricsVoice = "duet-1" {
1948 \property LyricsVoice . stanza = "Bert"
1949 Hi, my name is bert. }
1950 \context LyricsVoice = "duet-2" {
1951 \property LyricsVoice . stanza = "Ernie"
1952 Ooooo, ch\'e -- ri, je t'aime. }
1957 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1958 first system) and @code{LyricsVoice.stz} for the following systems.
1960 @cindex stanza numbering
1968 LilyPond has support for both entering and printing chords. Chords are
1969 a harmonic device that is characterized by a set of pitches. It is
1970 something different from simultaneous music, although you can express a
1971 chord using simultaneous music. In fact, chords are internally stored as
1972 simultaneous music expressions. This means you can enter chords by name,
1973 and print them as note head, or enter as notes and print as chord names:
1976 @lilypond[verbatim,singleline]
1977 twoWays = \notes \transpose c'' {
1987 < \context ChordNames \twoWays
1988 \context Staff \twoWays > }
1991 Note that this example also shows that the LilyPond chord does not
1992 attempt to be intelligent, if you enter @code{f bes d}, it does no
1993 attempt to find out whether it this is an inversion.
1997 * Printing named chords::
2002 @subsection Chords mode
2005 Chord mode is a mode where you can input sets of pitches using common
2006 names. It is introduced by the keyword @code{\chords}. It is similar
2007 to note mode, but words are also looked up in a chord modifier table
2008 (containing @code{maj}, @code{dim}, etc).
2010 Dashes and carets are used to indicate chord additions and subtractions,
2011 so articulation scripts can not be entered in Chord mode.
2013 The syntax for named chords is as follows:
2016 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2019 @var{tonic} should be the tonic note of the chord, and @var{duration}
2020 is the chord duration in the usual notation. There are two kinds of
2021 modifiers. One type is @emph{chord additions}, which are obtained by
2022 listing intervals separated by dots. An interval is written by its
2023 number with an optional @code{+} or @code{-} to indicate raising or
2024 lowering by half a step. Chord additions has two effects: It adds
2025 the specified interval and all lower odd numbered intervals to the
2026 chord, and it may lower or raise the specified interval. Intervals
2027 must be separated by a dot (@code{.}).
2029 Throughout these examples, chords have been shifted around the staff
2030 using @code{\transpose}.
2035 @lilypond[fragment,verbatim]
2039 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2051 The second type of modifier that may appear after the @code{:} is a
2052 named modifier. Named modifiers are listed in the file
2053 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2054 @code{min} which lower the 3rd half a step, `@code{aug}' which
2055 raises the 5th, `@code{dim}' which lowers the 5th,
2056 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2057 which replaces the 5th with a 4th.
2061 @lilypond[fragment,verbatim]
2064 c1:m c:min7 c:maj c:aug c:dim c:sus
2072 Chord subtractions are used to eliminate notes from a chord. The
2073 notes to be subtracted are listed after a @code{^} character,
2076 @lilypond[fragment,verbatim,center]
2085 Chord inversions can be specified by appending `@code{/}' and the name
2086 of a single note to a chord. In a chord inversion, the inverted note is
2087 transposed down until it is the lowest note in the chord. If the
2088 specified note is not in the chord, a warning will be printed.
2090 @lilypond[fragment,verbatim,center]
2100 Bass notes can be added by `@code{/+}' and
2101 the name of a single note to a chord. This has the effect of
2102 adding the specified note to the chord, lowered by an octave,
2103 so it becomes the lowest note in the chord.
2105 @lilypond[fragment,verbatim,center]
2117 @c . {Printing named chords}
2118 @node Printing named chords
2119 @subsection Printing named chords
2121 @cindex printing chord names
2124 @cindex @code{ChordNames}
2127 For displaying printed chord names, use the @code{ChordNames} context.
2128 The chords may be entered either using the notation described above, or
2129 directly using simultaneous music.
2132 @lilypond[verbatim,singleline]
2134 \chords {a1 b c} <d f g> <e g b>
2138 \context ChordNames \scheme
2139 \context Staff \transpose c'' \scheme
2145 You can make the chord changes stand out by setting property
2146 @code{ChordNames.chordChanges} to true. This will only display chord
2147 names when there's a change in the chords scheme and at the start of the
2153 c1:m \break c:m c:m c:m d
2158 \context ChordNames {
2159 \property ChordNames.chordChanges = ##t
2161 \context Staff \transpose c'' \scheme
2166 LilyPond examines chords specified as lists of notes to determine a name
2167 to give the chord. LilyPond will not try to identify chord inversions or
2168 added base, which may result in strange chord names when chords are
2169 entered as a list of pitches:
2174 @lilypond[verbatim,center,singleline]
2183 \context ChordNamesVoice \scheme
2184 \context Staff \scheme
2191 By default LilyPond uses chord name system proposed by Harald Banter
2192 (See @ref{Literature}). The system is is unambiguous and has a logical
2193 structure. Typical American style chord names may be selected by
2194 setting the @code{style} property of the @code{ChordNames.ChordName}
2195 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2198 Routines that determine the names to be printed are written in Scheme,
2199 and may be customized by the user. The code can be found in
2200 @file{scm/chord-name.scm}.
2202 [3 short examples showing differences between american, banter and jazz]
2205 @section Writing parts
2207 Orchestral music involves some special notation, both in the full score,
2208 as in the individual parts. This section explains how to tackle common
2209 problems in orchestral music.
2216 * Instrument names::
2218 * Sound output for transposing instruments::
2219 * Multi measure rests::
2220 * Automatic part combining::
2221 * Hara-kiri staffs::
2224 @c . {Rehearsal marks}
2225 @node Rehearsal marks
2226 @subsection Rehearsal marks
2227 @cindex Rehearsal marks
2229 @cindex @code{\mark}
2230 @cindex @code{Mark_engraver}
2233 \mark @var{unsigned};
2238 With this command, you can print a rehearsal mark above the system. You
2239 can provide a number, a string or a markup text as argument. If there is
2240 no argument, the property @code{rehearsalMark} is used and automatically
2243 @lilypond[fragment,verbatim]
2249 c1 \mark #'(music "scripts-segno") ;
2255 @subsection Bar numbers
2257 Bar numbers are printed at the start of the line by default. This is
2258 done by the @code{Bar_number_engraver} in the Score context.
2262 It is currently not possible to make boxed bar numbers, or print them at
2266 @node Instrument names
2267 @subsection Instrument names
2269 You can specify an instrument name for a staff by setting
2270 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2271 before the start of the staff. For the first start, @code{instrument} is
2272 used, for the next ones @code{instr} is used.
2274 @lilypond[verbatim,singleline]
2276 \property Staff.instrument = "ploink " { c''4 } }
2278 \translator { \StaffContext
2279 \consists "Instrument_name_engraver"; } } }
2282 This requires that you add the @code{Instrument_name_engraver} to the
2287 @subsection Transpose
2289 @cindex transposition of pitches
2290 @cindex @code{\transpose}
2292 A music expression can be transposed with @code{\transpose}. The syntax
2295 \transpose @var{pitch} @var{musicexpr}
2298 This means that middle C in @var{musicexpr} is transposed to
2301 @code{\transpose} distinguishes between enharmonic pitches: both
2302 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2303 a tone. The first version will print sharps and the second version
2307 @lilypond[fragment,verbatim]
2310 { \key e \major; c d e f }
2312 \transpose des'' { \key e \major; c d e f }
2313 \transpose cis'' { \key e \major; c d e f }
2319 If you want to use both @code{\transpose} and @code{\relative}, then
2320 you must use @code{\transpose} first. @code{\relative} will have no
2321 effect music that appears inside a @code{\transpose}.
2323 @node Sound output for transposing instruments
2324 @subsection Sound output transposing instruments
2326 When you want to play a score containing transposed and untransposed
2327 instruments, you have to instruct LilyPond the pitch offset (in
2328 semitones) for the transposed instruments. This is done using the
2329 @code{transposing} property. It does not affect printed output.
2331 @cindex @code{transposing}
2334 \property Staff.instrument = #"Cl. in B-flat"
2335 \property Staff.transposing = #-2
2339 @c . {Multi measure rests}
2340 @node Multi measure rests
2341 @subsection Multi measure rests
2342 @cindex Multi measure rests
2346 Multi measure rests are entered using `@code{R}'. It is specifically
2347 meant for entering parts: the rest can expand to fill a score with
2348 rests, or it can be printed as a single multimeasure rest This expansion
2349 is controlled by the property @code{Score.skipBars}. If this is set to true,
2350 Lily will not expand empty measures, and the appropriate number is added
2353 @lilypond[fragment,verbatim]
2354 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2357 Currently, there is no way to condense multiple rests into a single
2360 @cindex condensing rests
2362 @node Automatic part combining
2363 @subsection Automatic part combining
2364 @cindex automatic part combining
2365 @cindex part combiner
2367 Automatic part combining is used to merge two parts of music onto on
2368 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2369 and orchestral scores. When the two parts are identical for a period of
2370 time, only one is shown. In places where the two parts differ, stem
2371 directions are set automatically. Also, soli and @emph{a due} parts can be
2372 identified and marke.
2374 The syntax for part combining is
2377 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2380 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2381 combined into one context @var{context}. The names of the music
2382 expressions must start with the prefixes @code{one} and @code{two}.
2384 [Name of music expressions? is that context name? ]
2386 The most useful function of the part combiner to combining threads into
2387 one voice, as common for wind parts in orchestral scores:
2389 @lilypond[verbatim,singleline,fragment]
2391 \context Voice=one \partcombine Voice
2392 \context Thread=one \relative c'' {
2395 \context Thread=two \relative c'' {
2401 Notice that the first @code{g} appears only once, although it was
2402 specified twice (once in each Thread). Also note that stem, slur and tie
2403 directions are set automatically, depending whether there is a solo or
2404 unisono. The Thread called @code{one} always gets up stems, and "solo",
2405 while @code{two} always gets down stems and "Solo II".
2407 If you just want the splitting of Threads and setting of directions, and
2408 not the textual markings, you may set the property @var{soloADue} to
2409 false. This mode can be used to set hymns:
2411 @lilypond[verbatim,singleline,fragment]
2413 \property Staff.soloADue = ##f
2414 \context Voice=one \partcombine Voice
2415 \context Thread=one \relative c'' {
2418 \context Thread=two \relative c'' {
2424 There are a number of other properties that you can use to tweak
2425 the behavior of part combining, refer to the automatically generated
2426 documentation. Look for @code{Thread_devnull_engraver}
2427 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2429 @cindex @code{Thread_devnull_engraver}
2430 @cindex @code{Voice_engraver}
2431 @cindex @code{A2_engraver}
2433 @node Hara-kiri staffs
2434 @subsection Hara-kiri staffs
2436 In orchestral scores, staffs that only have rests are usually removed.
2437 This saves some space. LilyPond also supports this through the
2438 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2439 of the Japanese Samourai warriors.} staff. This staff commits suicide
2440 when it finds itself to be empty after the line-breaking process---note
2441 that it will not disappear when it contains normal rests, you must use
2442 multi measure rests.
2444 The hara kiri staff is specialized version of the Staff context. It is
2445 available as the context identifier @code{\HaraKiriStaffContext}.
2446 Observe how the second staff in this example disappears in the second
2451 \notes \relative c' <
2452 \context Staff = SA { e4 f g a \break c1 }
2453 \context Staff = SB { c4 d e f \break R1 }
2457 \translator { \HaraKiriStaffContext }
2470 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2471 staff context symbol that appears at the end of a staff line. It
2472 anticipates the pitch of the first note(s) of the following line and
2473 thus helps the player or singer to manage line breaks during
2474 performance, thus enhancing readability of a score.
2479 \notes { c'1 d' e' d' \break c' d' e' d' }
2483 \consists Custos_engraver;
2484 Custos \override #'style = #'mensural;
2491 Custodes were frequently used in music notation until the 16th century.
2492 There were different appearences for different notation styles.
2493 Nowadays, they have survived only in special forms of musical notation
2494 such as via the @emph{editio vaticana} dating back to the beginning of
2497 For typesetting custodes, just put a @code{Custos_engraver} into the
2498 @code{StaffContext} when declaring the @code{\paper} block. In this
2499 block, you can also globally control the appearance of the custos symbol
2500 by setting the custos @code{style} property. Currently supported styles
2501 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2508 \consists Custos_engraver;
2509 Custos \override #'style = #'mensural;
2514 The property can also be set locally, for example in a @code{\notes}
2519 \property Staff.Custos \override #'style = #'vaticana
2520 c'1 d' e' d' \break c' d' e' d'
2524 @c . {Tuning output}
2526 @section Tuning output
2528 LilyPond tries to take as much formatting as possible out of your
2529 hands. Nevertheless, there are situations where it needs some help, or
2530 where you want to override its decisions. In this section we discuss
2531 ways to do just that.
2533 Notation output is specified in so called grobs (graphic objects). Each
2534 grob carries with it a set of properties (grob properties) specific to
2535 that object. For example, a stem grob has properties that specify its
2536 direction, length and thickness.
2539 The most common way of tuning the output is to alter the values of these
2540 properties. There are two ways of doing that: first, you can temporarily
2541 change the definition of a certain type of grob, thus affecting a whole
2542 set of objects. Second, you can select one specific object, and set a
2546 * Tuning groups of grobs ::
2547 * Tuning per grob ::
2553 @node Tuning groups of grobs
2554 @subsection Tuning groups of grobs
2556 @cindex grob description
2558 A grob definition is a Scheme association list, that is stored in a context
2559 property. By assigning to that property (using plain @code{\property}),
2560 you can change the resulting grobs.
2562 @lilypond[verbatim, fragment]
2563 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2566 The @code{\property} statement effectively empties the definition of the
2567 Stem object. One of the effects is that property specifying how it
2568 should be printed is erased, with the effect of rendering it invisible.
2574 This mechanism is fairly crude, since you can only set, but not modify,
2575 the definition of a grob. For this reason, there is a more advanced
2576 mechanism: you can add a property on top of an existing definition, or
2577 remove a property: @code{\override} adds a settings, @code{\revert}
2578 removes that setting.
2581 c'4 \property Voice.Stem \override #'thickness = #4.0
2582 c'4 \property Voice.Stem \revert #'thickness
2586 For the digirati, the grob description is an Scheme association
2587 list. Since it is singly linked, we can treat it as a stack, and
2588 @code{\override} and @code{\revert} are just push and pop
2589 operations. This pushing and popping is also used for overriding automatic
2592 If you revert a setting which was not set in the first place, then it
2593 has no effect. However, if the setting was set as a system default, it
2594 may remove the default value, and this may give surprising results,
2595 including crashes. In other words, if you use @code{\override} and
2596 @code{\revert}, be sure to balance the overrides and reverts.
2598 If balancing them is too much work, use the @code{\set} shorthand. It
2599 performs a revert followed by an override:
2601 \property Voice.Stem \set #'thickness = #2.0
2604 Formally the syntax for these constructions is
2606 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2607 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2608 \property @var{context}.@var{grobname} \revert @var{symbol}
2610 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2611 and @var{grobname} are strings and @var{value} is a Scheme expression.
2615 LilyPond will hang or crash if @var{value} contains cyclic references.
2619 @node Tuning per grob
2620 @subsection Tuning per grob
2622 @cindex \outputproperty
2624 A second way of tuning grobs is the more arcane @code{\outputproperty}
2626 Syntax is as follows
2628 \outputproperty @var{predicate} @var{symbol} = @var{value}
2630 Here @code{predicate} is a Scheme function taking a grob argument, and
2631 returning a boolean. This statement is processed by the
2632 @code{Output_property_engraver}. It instructs the engraver to feed all
2633 grobs that it sees to @var{predicate}. Whenever the predicate returns
2634 true, the grob property @var{symbol} will be set to @var{value}.
2636 You will need to combine this statement with @code{\context} to select
2637 the appropriate context to apply this to.
2639 If possible, avoid this feature: the semantics are not very clean, and
2640 the syntax and semantics are up for rewrite.
2642 Here are some random examples:
2644 @lilypond[fragment,verbatim,singleline]
2646 \context Staff \outputproperty
2647 #(make-type-checker 'note-head-interface)
2648 #'extra-offset = #'(0.5 . 0.75)
2652 @cindex @code{extra-offset}
2654 This selects all note heads occurring at current staff level, and sets
2655 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2658 Move the text "m.d.", but not the fingering instruction "2".
2659 @lilypond[verbatim,singleline]
2660 #(define (make-text-checker text)
2661 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2664 \notes\relative c''' {
2665 \property Voice.Stem \set #'direction = #1
2666 \outputproperty #(make-text-checker "m.d.")
2667 #'extra-offset = #'(-3.5 . -4.5)
2677 @subsection What to tune?
2679 This all tells you how to tune grobs, but what variables are there? The
2680 question is not answered in this manual (although you may encounter
2683 Grob properties are tied directly to the implementation of LilyPond, and
2684 they are thus a moving target. Documentation of such variables are part
2685 of the generated documentation: this documentation is generated from the
2686 sourcecode of lily for each version, so it is usually mch more up to
2687 date than this manual. It should be available from the same place where
2688 you got this manual.
2690 To decide how to tune a grob, you need to find the following information
2693 which grob to modify
2695 which property to modify
2697 which context the grob comes from.
2700 Included with the automatically generated documentation is a master list
2701 of grobs. Each one can be clicked, taking you to a overview of the
2702 available properties.
2704 There is also a master list of contexts. Clicking each takes you to an
2705 overview of the context, listing which grob types are created there.
2708 @node Font selection
2709 @subsection Font selection
2711 Most graphics in LilyPond are composed of characters of fonts. You can
2712 alter the characteristics of the font by setting certain grob
2713 properties. The mechanism that is used for this resembles LaTeX's New
2714 Font Selection Scheme. Within this scheme, a font is entirely
2715 characterized by its font name.
2717 For each grob that uses fonts (in other words, each grob that supports
2718 @code{font-interface}) a font-name must be selected before it can be
2719 printed. The font name is selected by looking at a number of grob
2724 The general class of the typeface. Supported are roman (Computer
2725 Modern), braces (for piano staff braces), music (the standard music
2726 font), dynamic (font for dynamic signs) and typewriter
2729 A symbol indicating the shape of the font, a finer gradation than
2730 font-family. Choices are italic and upright
2732 Symbol indicating the serie of the font. Series form a finer gradation
2733 than font-shape. Choices are medium and bold.
2735 @item font-relative-size
2736 A number indicating the size relative the standard size. For example,
2737 with 20pt staff height, relative size -1 corresponds to 16pt staff
2738 height, and relative size +1 corresponds to 23 pt staff height.
2740 @item font-design-size
2741 A number indicating the design size of the font.
2743 This is a feature of the Computer Modern Font: each point size has a
2744 slightly different design. Smaller design sizes are relatively wider,
2745 which enhances readability. Scalable type faces such TrueType and Adobe
2746 Type1 usually come as ``one design fits all sizes''.
2749 The name of the font, without the design size, eg. @code{cmr},
2750 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2755 The font is selected by taking the first font that satisfies all
2756 qualifiers specified. You can override any of these fields through
2757 @code{\override} and @code{\revert}. The special value @code{*} matches
2758 any value for that qualifier.
2761 \property Lyrics.LyricText \override #'font-series = #'bold
2762 \property Lyrics.LyricText \override #'font-shape = #'*
2765 @cindex @code{font-style}
2767 There are also pre-cooked font selection qualifiers. These are selected
2768 through the grob property @code{font-style}. For example, the style
2769 @code{finger} selects family @code{number} and relative size @code{-3}.
2770 Styles available include: volta, finger, tuplet, timesig, mmrest,
2771 script, large, Large and dynamic.
2773 The style sheets and tables for selecting fonts are located in
2774 @file{scm/font.scm}. Refer to this file for more information.
2778 Relative size is not linked to any real size. There is no mechanism to
2779 select magnifications of fonts, meaning that you can not scale fonts
2780 continuoussly. There is no style sheet provided for other fonts besides
2783 @cindex font selection
2784 @cindex font magnification
2785 @cindex @code{font-interface}
2791 @subsection Text markup
2795 LilyPond has an internal mechanism to typeset texts. You can
2796 form text markup expressions by composing scheme expressions
2797 in the following way.
2802 @lilypond[verbatim, singleline]
2805 c^#'(upright "upright")
2806 c_#'((bold upright) "bold")
2807 d^#'(lines "one" ((bold upright) "two"))
2808 e_#'(music (named "noteheads-2" "flags-u3"))
2812 Normally, the Scheme markup text is stored in the @code{text} property
2813 of a grob. Formally, it is defined as follows:
2816 text: string | (head? text+)
2817 head: markup | (markup+)
2818 markup-item: property | abbrev | @var{fontstyle}
2819 property: (@var{key} . @var{value})
2820 abbrev: @code{rows lines roman music bold italic named super sub text}
2823 The markup is broken down and converted into a list of grob properties,
2824 which are prepended to the property list. The @var{key}-@var{value}
2825 pair is a grob property.
2827 The following abbreviations are currently
2832 horizontal mode: set all text on one line (default)
2834 vertical mode: set every text on new line
2844 lookup by character name
2846 plain text lookup (by character value)
2853 @var{fontstyle} may be any of @code{finger volta timesig mmrest mark
2854 script large Large dynamic}
2856 [wat is het verschil tussen fontstyle en abbrev? ]
2859 It is possible to use @TeX{} commands in the strings, but this should be
2860 avoided because this makes it impossible for LilyPond to compute the
2861 exact length of the string, which may lead to collisions. Also, @TeX{}
2862 commands won't work with direct postscript output.
2866 @section Page layout
2880 @subsection Paper block
2883 The most important output definition is the @code{\paper} block, for
2884 music notation. The syntax is
2887 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2890 where each of the items is one of
2893 @item An assignment. The assignment must be terminated by a
2896 @item A context definition. See @ref{Notation Contexts} for
2897 more information on context definitions.
2899 @item \stylesheet declaration. Its syntax is
2901 \stylesheet @var{alist}
2904 See @file{scm/font.scm} for details of @var{alist}.
2905 @item an \elementdescriptions declaration.
2907 \elementdescriptions @var{alist}
2909 See @file{scm/grob-description.scm} for details of @var{alist}.
2913 @c . {Paper variables}
2914 @node Paper variables
2915 @subsection Paper variables
2916 @cindex Paper variables
2918 The paper block has some variables you may want to use or change:
2921 @cindex @code{indent}
2923 The indentation of the first line of music.
2924 @cindex @code{staffspace}
2926 @item @code{staffspace}
2927 The distance between two staff lines, calculated from the center
2928 of the lines. If you want scale independent output, then you should
2929 use either this or @code{stafflinethickness}
2930 as a unit for distances you modify.
2932 @cindex @code{linewidth}
2933 @item @code{linewidth}
2934 Sets the width of the lines.
2936 If set to a negative value, a single
2937 unjustified line is produced.
2939 @cindex @code{textheight}
2941 @item @code{textheight}
2942 Sets the total height of the music on each page. Only used by
2945 @cindex @code{interscoreline}
2947 @item @code{interscoreline}
2948 Sets the spacing between systems.
2950 @cindex @code{interscorelinefill}
2954 @item @code{interscorelinefill}
2955 If set to a positive number, the distance between the score
2956 lines will stretch in order to fill the full page. In that
2957 case @code{interscoreline} specifies the minimum spacing.
2962 @cindex @code{stafflinethickness}
2964 @item @code{stafflinethickness}
2965 Determines the thickness of staff lines, and also acts as a scaling
2966 parameter for other line thicknesses.
2973 @subsection Font size
2976 The Feta font provides musical symbols at six different sizes. These
2977 fonts are 11 point, 13 point, 16 point, 20 point,
2978 23 point, and 26 point. The point size of a font is the
2979 height of the five lines in a staff when displayed in the font.
2981 Definitions for these sizes are the files @file{paperSZ.ly}, where
2982 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2983 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2984 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2985 @code{paperTwentysix} are defined respectively. The default
2986 @code{\paper} block is also set.
2988 The font definitions are generated using a Scheme function. For more
2989 details, see the file @file{font.scm}.
2995 @subsection Paper size
3000 @cindex @code{papersize}
3002 To change the paper size, you must first set the
3003 @code{papersize} variable at top level. Set it to
3004 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3005 specification, you must set the font as described above. If you want
3006 the default font, then use the 20 point font. The new paper size will
3007 not take effect if the font is not loaded and selected afterwards.
3011 \include "paper16.ly"
3015 \paper @{ \paperSixteen @}
3019 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3020 will set the paper variables @code{hsize} and @code{vsize} (used by
3031 @subsection Line break
3034 @cindex breaking lines
3036 Line breaks are normally computed automatically. They are chosen such
3037 that the resulting spacing has low variation, and looks neither cramped
3040 Occasionally you might want to override the automatic breaks; you can do
3041 this by specifying @code{\break}. This will force a line break at this
3042 point. Do remember that line breaks can only occur at places where there
3043 are barlines. If you want to have a line break where there is no
3044 barline, you can force an invisible barline by entering @code{\bar "";}.
3046 Similarly, @code{\noBreak} forbids a line break at a certain point.
3048 @cindex @code{\penalty}
3050 The @code{\break} and @code{\noBreak} commands are defined in terms of
3051 the penalty command:
3053 \penalty @var{int} @code{;}
3056 This encourages or discourages LilyPond to make a line break at this
3061 The scaling of the @code{\penalty} argument is not well-defined. The
3062 command is rather kludgy, and slated for rewriting.
3066 @subsection Page break
3069 @cindex breaking pages
3072 Page breaks are normally computed by @TeX{}, so they are not under
3073 direct control of LilyPond. However, you can insert a commands into the
3074 @file{.tex} output to instruct @TeX{} where to break pages. For more
3075 details, see the example file @file{input/test/between-systems.ly}
3086 LilyPond can produce MIDI output. The performance lacks lots of
3087 interesting effects, such as swing, articulation, slurring, tieing,
3088 etc., but it is good enough for proof-hearing the music you enter.
3090 Dynamics and tempo changes are interpreted.
3092 [TODO: mention volume control/Instrument Equaliser]
3097 It is currently not possible to use the percussion channel (generally
3098 channel 10 of a MIDI file).
3102 * MIDI instrument names::
3107 @subsection MIDI block
3111 The MIDI block is analogous to the paper block, but it is somewhat
3112 simpler. The @code{\midi} block can contain:
3116 @item a @code{\tempo} definition
3117 @item context definitions
3120 Assignments in the @code{\midi} block are not allowed.
3124 @cindex context definition
3126 Context definitions follow precisely the same syntax as within the
3127 \paper block. Translation modules for sound are called performers.
3128 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3131 @node MIDI instrument names
3132 @subsection MIDI instrument names
3134 @cindex instrument names
3135 @cindex @code{Staff.midiInstrument}
3136 @cindex @code{Staff.instrument}
3138 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3139 property or, if that property is not set, the @code{Staff.instrument}
3140 property. The instrument name should be chosen from the list in
3141 @ref{MIDI instruments}.
3145 If the selected string does not exactly match, then LilyPond uses the
3146 default piano. It is not possible to select an instrument by number.
3158 @section Music entry
3166 One of the applications of LilyPond is to enter music from existing
3167 written or printed material. When you're doing this kind of copying
3168 work, you can easily make mistakes. This section deals with tricks and
3169 features that help you enter music, and find and correct mistakes.
3173 @subsection Relative
3175 @cindex relative octave specification
3177 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3178 When you copy existing music, it is easy to accidentally put a pitch in
3179 the wrong octave and hard to find such an error. To prevent these
3180 errors, LilyPond features octave entry.
3182 @cindex @code{\relative}
3184 \relative @var{startpitch} @var{musicexpr}
3187 The octave of notes that appear in @var{musicexpr} are calculated as
3188 follows: If no octave changing marks are used, the basic interval
3189 between this and the last note is always taken to be a fourth or less.
3190 The octave changing marks @code{'} and @code{,} can then
3191 be added to raise or lower the pitch by an extra octave. Upon entering
3192 relative mode, an absolute starting pitch must be specified that will
3193 act as the predecessor of the first note of @var{musicexpr}.
3195 This distance is determined without regarding accidentals: a
3196 @code{fisis} following a @code{ceses} will be put above the
3199 Entering music that changes octave frequently is easy in relative mode.
3200 @lilypond[fragment,singleline,verbatim,center]
3206 And octave changing marks are used for intervals greater than a fourth.
3207 @lilypond[fragment,verbatim,center]
3209 c g c f, c' a, e'' }
3212 If the preceding item is a chord, the first note of the chord is used
3213 to determine the first note of the next chord. But other notes
3214 within the second chord are determined by looking at the immediately
3217 @lilypond[fragment,verbatim,center]
3224 @cindex @code{\notes}
3226 The pitch after the @code{\relative} contains a notename. To parse
3227 the pitch as a notename, you have to be in note mode, so there must
3228 be a surrounding @code{\notes} keyword (which is not
3231 The relative conversion will not affect @code{\transpose},
3232 @code{\chords} or @code{\relative} sections in its argument. If you
3233 want to use relative within transposed music, you must place an
3234 additional @code{\relative} inside the @code{\transpose}.
3239 @subsection Bar check
3243 @cindex @code{barCheckNoSynchronize}
3247 Whenever a bar check is encountered during interpretation, a warning
3248 message is issued if it doesn't fall at a measure boundary. This can
3249 help you find errors in the input. Depending on the value of
3250 @code{barCheckNoSynchronize}, the beginning of the measure will be
3251 relocated, so this can also be used to shorten measures.
3253 A bar check is entered using the bar symbol, @code{|}
3257 @c . {Point and click}
3258 @node Point and click
3259 @subsection Point and click
3261 Point and click lets you find notes in the input by clicking on them in
3262 the Xdvi window. This makes it very easy to find input that causes some
3263 error in the sheet music.
3265 To use it, you need the following software
3269 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3270 Xdvi} version 22.36 or newer.
3272 Note that most @TeX{} distributions ship with xdvik, which is a
3273 different and less well maintained program. To find out which xdvi you
3274 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3279 Add one these lines to the top of your .ly file. The first one is for
3280 line location only. The second one is more convenient, but requires
3281 patching @code{emacsclient}.
3284 #(set! point-and-click line-location)
3285 #(set! point-and-click line-column-location)
3288 In the emacs startup file (usually @file{~/.emacs}), add the following
3293 If you want emacs to jump to the exact spot (and not just the line) on a
3294 click, you must enable column positioning. To do so, you need to patch
3295 emacsclient. Apply @file{emacsclient.patch} (included with the source
3296 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3297 source code. Recompile and stick the recompiled emacsclient into a bin
3298 directory, and put @file{server.el} into a elisp directory
3299 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3300 init file, beifore invoking server-start.
3303 (setq load-path (cons "~/usr/share/emacs" load-path))
3307 Xdvi must be configured to use the emacs editor. Before starting, set
3308 the environment variable @code{XEDITOR} to
3310 emacsclient --no-wait +%c:%l %f
3312 Xdvi also must be configured to find the fonts. Refer to the
3313 xdvi documentation for more information.
3315 When viewing, control-mousebutton 1 will take you to the originating
3316 line and column. Control-mousebutton 2 will show all clickable boxes.
3320 When you convert the TeX file to PostScript using dvips, dvips
3321 will complain about not finding @code{src:X:Y} files. Those complaints are
3322 harmless, and can be ignored.
3325 @node Interpretation context
3326 @section Interpretation context
3329 * Notation Contexts::
3330 * Creating contexts::
3331 * Default contexts::
3332 * Context properties::
3333 * Changing context definitions::
3334 * Defining new contexts::
3338 @c . {Notation Contexts}
3339 @node Notation Contexts
3340 @subsection Notation Contexts
3342 @cindex notation contexts
3344 Notation contexts are objects that only exist during a run of LilyPond.
3345 During the interpretation phase of LilyPond (when it prints
3346 "interpreting music"), the music expresiion in a @code{\score} block is
3347 interpreted in time order. This is the same order that humans hear and
3350 During this interpretation, the notation context is holds the state for
3351 the current point within the music. It contains information like
3354 @item What notes are playing at this point?
3355 @item What symbols will be printed at this point?
3356 @item What is the current key signature, time signature, point within
3360 Contexts are grouped hierarchically: A @code{Voice} context is
3361 contained in a @code{Staff} context (because a staff can contain
3362 multiple voices at any point), a @code{Staff} context is contained in
3363 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3364 these can all contain multiple staffs).
3367 Contexts associated with sheet music output are called @emph{notation
3368 contexts}, those for sound output are called performance contexts.
3371 @node Creating contexts
3372 @subsection Creating contexts
3374 @cindex @code{\context}
3375 @cindex context selection
3377 Contexts for a music expression can be selected manually, using the
3378 following music expression.
3381 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3384 This instructs lilypond to interpret @var{musicexpr} within the context
3385 of type @var{contexttype} and with name @var{contextname}. If this
3386 context does not exist, it will be created.
3390 @lilypond[verbatim,singleline]
3392 \notes \relative c'' {
3393 c4 <d4 \context Staff = "another" e4> f
3400 In this example, the @code{c} and @code{d} are printed on the
3401 default staff. For the @code{e}, a context Staff called
3402 @code{another} is specified; since that does not exist, a new
3403 context is created. Within @code{another}, a (default) Voice context
3404 is created for the @code{e4}. When all music referring to a
3405 context is finished, the context is ended as well. So after the
3406 third quarter, @code{another} is removed.
3410 @node Default contexts
3411 @subsection Default contexts
3413 Most music expressions don't need @code{\context}: they inherit the
3414 notation context from their parent. Each note is a music expression, and
3415 as you can see in the following example, only the sequential music
3416 enclosing the three notes has an explicit context.
3418 @lilypond[verbatim,singleline]
3419 \score { \notes \context Voice = goUp { c'4 d' e' } }
3422 There are some quirks that you must keep in mind when dealing with
3425 First, every top-level music is interpreted by the Score context, in other
3426 words, you may think of @code{\score} working like
3429 \context Score @var{music}
3433 Second, sequential music follows the contexts of its
3434 ``children''. Consider the following example.
3436 @lilypond[verbatim, singleline]
3437 \score { \context Score \notes { c'4 ( d' )e' } }
3440 The sequential music is interpreted by the Score context initially
3441 (notice that the @code{\context} specification is redundant), but when a
3442 note is encountered, contexts are setup to accept that note. In this
3443 case, a Thread, Voice and Staff are created. The rest of the sequential
3444 music is also interpreted with the same Thread, Voice and Staff context,
3445 putting the notes on the same staff, in the same voice.
3447 This is a convenient mechanism, but do not expect opening chords to work
3448 without @code{\context}. For every note, a separate staff is
3451 @lilypond[verbatim, singleline]
3452 \score { \notes <c'4 es'> }
3455 Of course, if the chord is preceded by a normal note in sequential
3456 music, the chord will be interpreted by the Thread of the preceding
3458 @lilypond[verbatim,singleline]
3459 \score { \notes { c'4 <c'4 es'> } }
3464 @node Context properties
3465 @subsection Context properties
3467 Notation contexts can be modified from within the @file{.ly} file. The
3468 following music expression does that job:
3470 @cindex @code{\property}
3472 \property @var{contextname}.@var{propname} = @var{value}
3475 Sets the @var{propname} property of the context @var{contextname} to the
3476 specified Scheme expression @var{value}. All @var{propname} and
3477 @var{contextname} are strings, which are typically unquoted.
3479 Properties that are set in one context are inherited by all of the
3480 contained contexts. This means that a property valid for the
3481 @code{Voice} context can be set in the @code{Score} context (for
3482 example) and thus take effect in all @code{Voice} contexts.
3484 Properties can be unset using the following expression:
3486 \property @var{contextname}.@var{propname} \unset
3489 This removes the definition of @var{propname} in @var{contextname}. If
3490 @var{propname} was not defined in @var{contextname} (but was inherited
3491 from a higher context), then this has no effect.
3496 @code{\property \unset} is not the inverse of @code{\property \set}
3501 @c . {Context definitions}
3502 @node Changing context definitions
3503 @subsection Changing context definitions
3505 @cindex context definition
3506 @cindex translator definition
3508 The most common way to define a context is by extending an existing
3509 context. You can change an existing context from the paper block, by
3510 first initializing a translator with an existing context identifier:
3514 @var{context-identifier}
3517 Then you can add engravers, remove engravers.
3518 The syntax for these operations are respectively
3520 \remove @var{engravername}
3521 \consists @var{engravername}
3525 Here @var{engravername} is a string, the name of an engraver in the
3528 @var{propname} = @var{value}
3532 @lilypond[verbatim,singleline]
3536 \translator { \StaffContext
3537 \remove Clef_engraver;
3543 You can also set properties in a translator definition. The syntax is as
3546 @var{propname} is a string and @var{value} is a Scheme
3549 @var{propname} = @var{value}
3550 @var{propname} \set @var{symbol} = @var{value}
3551 @var{propname} \override @var{symbol} = @var{value}
3552 @var{propname} \revert @var{symbol}
3556 These type of property assignments happen before interpretation starts,
3557 so a @code{\property} expression will override any predefined settings.
3560 To simplify editing translators, all standard contexts have standard
3561 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3562 @code{VoiceContext}.
3564 @node Defining new contexts
3565 @subsection Defining new contexts
3567 If you want to build a context from scratch, you must also supply the
3568 following extra information:
3570 @item A name, specified by @code{\name @var{contextname};}.
3572 @item A cooperation module. This is specified by @code{\type
3579 \type "Engraver_group_engraver";
3580 \name "SimpleStaff";
3582 \consists "Staff_symbol_engraver";
3583 \consists "Note_head_engraver";
3584 \consistsend "Axis_group_engraver";
3588 Basic building blocks of translation are called engravers; they are
3589 special C++ classes.
3591 The argument of @code{\type} is the name for a special engraver that
3592 handles cooperation between simple engravers such as
3593 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3594 for this engraver are the following:
3596 @cindex @code{Engraver_group_engraver}
3597 @item @code{Engraver_group_engraver}
3598 The standard cooperation engraver.
3600 @cindex @code{Score_engraver}
3602 @item @code{Score_engraver}
3603 This is cooperation module that should be in the top level context,
3604 and only the toplevel context.
3606 @cindex @code{Grace_engraver_group}
3608 @item @code{Grace_engraver_group}
3609 This is a special cooperation module (resembling
3610 @code{Score_engraver}) that is used to created an embedded
3617 @item @code{\alias} @var{alternate-name} @code{;}
3618 This specifies a different name. In the above example,
3619 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3621 @item @code{\consistsend} @var{engravername} @code{;}
3622 Analogous to @code{\consists}, but makes sure that
3623 @var{engravername} is always added to the end of the list of
3626 Some engraver types need to be at the end of the list; this
3627 insures they are put there, and stay there, if a user adds or
3628 removes engravers. This command is usually not needed for
3631 @item @code{\accepts} @var{contextname} @code{;}
3632 Add @var{contextname} to the list of context this context can
3633 contain. The first listed context is the context to create by
3636 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3637 completeness, but is never used in practice.
3640 @item @code{\name} @var{contextname} @code{;}
3641 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3642 the name is not specified, the translator won't do anything.
3645 In the @code{\paper} block, it is also possible to define translator
3646 identifiers. Like other block identifiers, the identifier can only
3647 be used as the very first item of a translator. In order to define
3648 such an identifier outside of @code{\score}, you must do
3654 foo = \translator @{ @dots{} @}
3661 \translator @{ \foo @dots{} @}
3669 @cindex paper types, engravers, and pre-defined translators
3676 @c . {Syntactic details}
3677 @node Syntactic details
3678 @section Syntactic details
3679 @cindex Syntactic details
3681 This section describes details that were too boring to be put elsewhere.
3686 * Music expressions::
3687 * Manipulating music expressions::
3695 @subsection Top level
3698 This section describes what you may enter at top level.
3702 @subsubsection Score
3705 @cindex score definition
3707 The output is generated combining a music expression with an output
3708 definition. A score block has the following syntax:
3711 \score @{ @var{musicexpr} @var{outputdefs} @}
3714 @var{outputdefs} are zero or more output definitions. If none is
3715 supplied, the default @code{\paper} block will be added.
3719 @c . {Default output}
3720 @subsubsection Default output
3722 Default values for the @code{\paper} and @code{\midi} block are set by
3723 entering such a block at top-level.
3726 @subsubsection Header
3728 @cindex @code{\header}
3731 A header describes bibilographic information of the file's contents. It
3732 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3733 use this information for generating titles. Key values that are used by
3734 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3735 metre, arranger, piece and tagline.
3737 @cindex @code{ly2dvi}
3741 \header @{ @var{key1} = @var{val1};
3742 @var{key2} = @var{val2}; @dots{} @}
3745 It is customary to put the @code{\header} at the top of the file.
3747 @subsubsection Default output
3749 A @code{\midi} or @code{\paper} block at top-level sets the default
3751 paper block for all scores that lack an explicit paper block.
3755 @subsection Identifiers
3758 All of the information in a LilyPond input file, is represented as a
3759 Scheme value. In addition to normal Scheme data types (such as pair,
3760 number, boolean, etc.), LilyPond has a number of specialized data types,
3767 @item Translator_def
3771 @item Music_output_def
3772 @item Moment (rational number)
3775 LilyPond also includes some transient object types. Objects of these
3776 types are built during a LilyPond run, and do not `exist' per se within
3777 your input file. These objects are created as a result of your input
3778 file, so you can include commands in the input to manipulate them,
3779 during a lilypond run.
3782 @item Grob: short for Graphical object. See @ref{Grobs}.
3783 @item Molecule: device-independent page output object,
3784 including dimensions. Produced by some Grob functions
3786 @item Translator: object that produces audio objects or Grobs. This is
3787 not yet user accessible.
3788 @item Font_metric: object representing a font. (See @ref{Font metrics})
3793 @node Music expressions
3794 @subsection Music expressions
3796 @cindex music expressions
3798 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3799 syllables are music expressions, and you can combine music expressions
3800 to form new ones, for example by enclosing a list of expressions in
3801 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3802 compound expression is formed out of the quarter note @code{c} and a
3803 quarter note @code{d}:
3806 \sequential @{ c4 d4 @}
3809 @cindex Sequential music
3810 @cindex @code{\sequential}
3811 @cindex sequential music
3814 @cindex Simultaneous music
3815 @cindex @code{\simultaneous}
3817 The two basic compound music expressions are simultaneous and
3821 \sequential @code{@{} @var{musicexprlist} @code{@}}
3822 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3824 For both, there is a shorthand:
3826 @code{@{} @var{musicexprlist} @code{@}}
3830 @code{<} @var{musicexprlist} @code{>}
3832 for simultaneous music.
3833 In principle, the way in which you nest sequential and simultaneous to
3834 produce music is not relevant. In the following example, three chords
3835 are expressed in two different ways:
3837 @lilypond[fragment,verbatim,center]
3838 \notes \context Voice {
3839 <a c'> <b d' > <c' e'>
3840 < { a b c' } { c' d' e' } >
3845 Other compound music expressions include
3848 \transpose @var{pitch} @var{expr}
3849 \apply @var{func} @var{expr}
3850 \context @var{type} = @var{id} @var{expr}
3851 \times @var{fraction} @var{expr}
3855 @c . {Manipulating music expressions}
3856 @node Manipulating music expressions
3857 @subsection Manipulating music expressions
3859 The @code{\apply} mechanism gives you access to the internal
3860 representation of music. You can write Scheme-functions that operate
3861 directly on it. The syntax is
3863 \apply #@var{func} @var{music}
3865 This means that @var{func} is applied to @var{music}. The function
3866 @var{func} should return a music expression.
3868 This example replaces the text string of a script. It also shows a dump
3869 of the music it processes, which is useful if you want to know more
3870 about how music is stored.
3872 #(define (testfunc x)
3873 (if (equal? (ly-get-mus-property x 'text) "foo")
3874 (ly-set-mus-property x 'text "bar"))
3876 (ly-set-mus-property x 'elements
3877 (map testfunc (ly-get-mus-property x 'elements)))
3882 \apply #testfunc { c4_"foo" }
3886 For more information on what is possible, see the @ref{Tricks} and the
3887 automatically generated documentation.
3890 Directly accessing internal representations is dangerous: the
3891 implementation is subject to changes, so you should avoid this feature
3896 @c . {Span requests}
3902 @subsubsection Span requests
3903 @cindex Span requests
3905 Notational constructs that start and end on different notes can be
3906 entered using span requests. The syntax is as follows:
3910 \spanrequest @var{startstop} @var{type}
3914 @cindex @code{\start}
3915 @cindex @code{\stop}
3917 This defines a spanning request. The @var{startstop} parameter is either
3918 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
3919 describes what should be started. Much of the syntactic sugar is a
3920 shorthand for @code{\spanrequest}, for example,
3922 @lilypond[fragment,verbatim,center]
3923 c'4-\spanrequest \start "slur"
3924 c'4-\spanrequest \stop "slur"
3927 Among the supported types are @code{crescendo}, @code{decrescendo},
3928 @code{beam}, @code{slur}. This is an internal command. Users are
3929 encouraged to use the shorthands which are defined in the initialization
3930 file @file{spanners.ly}.
3935 @subsection Assignments
3938 Identifiers allow objects to be assigned to names during the parse
3939 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3940 and to refer to an identifier, you preceed its name with a backslash:
3941 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3942 the input-types listed above. Identifier assignments can appear at top
3943 level in the LilyPond file, but also in @code{\paper} blocks.
3945 Semicolons are forbidden after top level assignments, but mandatory in
3946 other places. The rules about semicolons and assignments are very
3947 confusing, but when LilyPond input evolves more towards Scheme, we hope
3948 that this problem will grow smaller.
3950 An identifier can be created with any string for its name, but you will
3951 only be able to refer to identifiers whose names begin with a letter,
3952 being entirely alphabetical. It is impossible to refer to an identifier
3953 whose name is the same as the name of a keyword.
3955 The right hand side of an identifier assignment is parsed completely
3956 before the assignment is done, so it is allowed to redefine an
3957 identifier in terms of its old value, e.g.
3963 When an identifier is referenced, the information it points to is
3964 copied. For this reason, an identifier reference must always be the
3965 first item in a block.
3969 \paperIdent % wrong and invalid
3973 \paperIdent % correct
3978 @c . {Lexical modes}
3980 @subsection Lexical modes
3981 @cindex Lexical modes
3984 @cindex @code{\notes}
3985 @cindex @code{\chords}
3986 @cindex @code{\lyrics}
3988 To simplify entering notes, lyrics, and chords, LilyPond has three
3989 special input modes on top of the default mode: note, lyrics and chords
3990 mode. These input modes change the way that normal, unquoted words are
3991 interpreted: for example, the word @code{cis} may be interpreted as a
3992 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
3995 A mode switch is entered as a compound music expressions
3997 @code{\notes} @var{musicexpr}
3998 @code{\chords} @var{musicexpr}
3999 @code{\lyrics} @var{musicexpr}.
4002 In each of these cases, these expressions do not add anything to the
4003 meaning of their arguments. They are just a way to indicate that the
4004 arguments should be parsed in indicated mode. The modes are treated in
4005 more detail in the @ref{Note entry}, @ref{Lyrics} and
4008 You may nest different input modes.
4012 @subsection Ambiguities
4017 The grammar contains a number of ambiguities. We hope to resolve them at
4021 @item The assignment
4027 can be interpreted as making a string identifier @code{\foo}
4028 containing @code{"bar"}, or a music identifier @code{\foo}
4029 containing the syllable `bar'.
4031 @item The assignment
4037 can be interpreted as making an integer identifier
4038 containing -6, or a Request identifier containing the
4039 fingering `6' (with neutral direction).
4041 @item If you do a nested repeat like
4053 then it is ambiguous to which @code{\repeat} the
4054 @code{\alternative} belongs. This is the classic if-then-else
4055 dilemma. It may be solved by using braces.
4057 @item (an as yet unidentified ambiguity :-)
4061 @c . {Lexical details}
4062 @node Lexical details
4063 @section Lexical details
4065 Even more boring details, now on lexical side of the input parser.
4076 * Version information::
4081 @subsection Comments
4084 @cindex block comment
4085 @cindex line comment
4089 A one line comment is introduced by a @code{%} character.
4090 Block comments are started by @code{%@{} and ended by @code{%@}}.
4091 They cannot be nested.
4094 @subsection Direct Scheme
4098 @cindex Scheme, in-line code
4101 LilyPond contains a Scheme interpreter (the GUILE library) for
4102 internal use. In some places Scheme expressions also form valid syntax:
4103 whereever it is allowed,
4107 evaluates the specified Scheme code. If this is used at toplevel, then
4108 the result is discarded. Example:
4110 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4113 @code{\override} expects two Scheme expressions, so there are two Scheme
4114 expressions. The first one is a symbol (@code{foobar}), the second one
4115 an integer (namely, 3).
4117 Scheme is a full-blown programming language, and a full discussion is
4118 outside the scope of this document. Interested readers are referred to
4119 the website @uref{http://www.schemers.org/} for more information on
4124 @subsection Keywords
4128 Keywords start with a backslash, followed by a number of lower case
4129 alphabetic characters. These are all the keywords.
4132 apply arpeggio autochange spanrequest commandspanrequest
4133 simultaneous sequential accepts alternative bar breathe
4134 char chordmodifiers chords clef cm consists consistsend
4135 context denies duration dynamicscript elementdescriptions
4136 font grace header in lyrics key mark pitch
4137 time times midi mm name pitchnames notes outputproperty
4138 override set revert partial paper penalty property pt
4139 relative remove repeat addlyrics partcombine score
4140 script stylesheet skip textscript tempo translator
4145 @subsection Integers
4153 Formed from an optional minus sign followed by digits. Arithmetic
4154 operations cannot be done with integers, and integers cannot be mixed
4159 @cindex real numbers
4165 Formed from an optional minus sign and a sequence of digits followed
4166 by a @emph{required} decimal point and an optional exponent such as
4167 @code{-1.2e3}. Reals can be built up using the usual operations:
4168 `@code{+}', `@code{-}', `@code{*}', and
4169 `@code{/}', with parentheses for grouping.
4177 A real constant can be followed by one of the dimension keywords:
4178 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4179 points, inches and centimeters, respectively. This converts the number
4180 a number that is the internal representation of that dimension.
4188 Begins and ends with the @code{"} character. To include a @code{"}
4189 character in a string write @code{\"}. Various other backslash
4190 sequences have special interpretations as in the C language. A string
4191 that contains no spaces can be written without the quotes. See
4192 @ref{Lexical modes} for details on unquoted strings; their
4193 interpretation varies depending on the situation. Strings can be
4194 concatenated with the @code{+} operator.
4196 The tokenizer accepts the following commands. They have no grammatical
4197 function, hence they can appear anywhere in the input.
4201 @subsection Main input
4204 @cindex @code{\maininput}
4206 The @code{\maininput} command is used in init files to signal that the
4207 user file must be read. This command cannot be used in a user file.
4209 @node File inclusion
4210 @subsection File inclusion
4211 @cindex @code{\include}
4213 \include @var{filename}
4216 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4217 unquoted string will not work here!) or a string identifier. The full
4218 filename including the @file{.ly} extension must be given,
4221 @node Version information
4222 @subsection Version information
4223 @cindex @code{\version}
4225 \version @var{string} ;
4228 Specify the version of LilyPond that a file was written for. The
4229 argument is a version string in quotes, for example @code{"1.2.0"}.
4230 This is used to detect invalid input, and to aid
4231 @code{convert-ly} a tool that automatically upgrades input files. See
4232 See @ref{convert-ly} for more information on @code{convert-ly}.
4241 @c .{Local emacs vars}
4244 @c minor-mode: font-lock
4245 @c minor-mode: outline
4246 @c outline-layout: (-1 : 0)
4247 @c outline-use-mode-specific-leader: "@c \."
4248 @c outline-primary-bullet: "{"
4249 @c outline-stylish-prefixes: nil
4250 @c outline-override-protect: t