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 1.3.141.
45 * Interpretation context::
55 The purpose of LilyPond is explained informally by the term `music
56 typesetter'. This is not a fully correct name: not only does the
57 program print musical symbols, it also makes esthetic decisions.
58 Symbols and their placements are @emph{generated} from a high-level
59 musical description. In other words, LilyPond would be best described
60 by `music compiler' or `music to notation compiler'.
62 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
63 Scheme library provides the glue that holds together the low-level
64 routines and separate modules general, which are C++.
66 When lilypond is run to typeset sheet music, the following happens:
68 @item GUILE Initialization: various scheme files are read
69 @item parsing: first standard @code{ly} initialization files are read, and
70 then the user @file{ly} file is read.
71 @item interpretation: the music in the file is processed ``in playing
72 order'', i.e. the order that you use to read sheet music, or the
73 order in which notes are played.
76 in this step, the results of the interpretation, a typesetting
77 specification, is solved.
79 @item the visible results ("virtual ink") is written to the output file.
82 During these stages different types of data play the the main role:
83 during parsing, @strong{Music} objects are created. During the
84 interpretation, @strong{context} is constructed, and with this context
85 af network of @strong{graphical objects} (``grobs'') is created. The
86 grobs contain unknown variables, and the network forms a set of
87 equations. After solving the equations and filling in these variables,
88 the printed output (in the form of @strong{molecules}) is written to an
91 These threemanship of tasks (parsing, translating, typesetting) and
92 data-structures (music, context, graphical objects) permeates the entire
93 design of the program. This manual is ordered in terms of user
94 tasks. With each concept will be explained to which of the three parts
103 The most basic forms of music are notes. We discuss how you enter them
104 here. Notes on their own don't form valid input, but for the sake of
105 brevity we omit obligotary lint such as @code{\score} blocks and
106 @code{\paper} declarations.
111 * Defining pitch names::
114 * Easy Notation note heads ::
127 @cindex Note specification
129 @cindex entering notes
131 The verbose syntax for pitch specification is
133 @cindex @code{\pitch}
135 \pitch @var{scmpitch}
138 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
140 In Note and Chord mode, pitches may be designated by names. The default
141 names are the Dutch note names. The notes are specified by the letters
142 @code{a} through @code{g} (where the octave is formed by notes ranging
143 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
144 middle C and the letters span the octave above that C.
146 @cindex note names, Dutch
148 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
149 name. A flat is formed by adding @code{-es}. Double sharps and double
150 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
151 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
152 both forms are accepted.
154 LilyPond has predefined sets of notenames for various other languages.
155 To use them, simply include the language specific init file. For
156 example: @code{\include "english.ly"}. The available language files and
157 the names they define are:
160 Note Names sharp flat
161 nederlands.ly c d e f g a bes b -is -es
162 english.ly c d e f g a bf b -s/-sharp -f/-flat
163 deutsch.ly c d e f g a b h -is -es
164 norsk.ly c d e f g a b h -iss/-is -ess/-es
165 svenska.ly c d e f g a b h -iss -ess
166 italiano.ly do re mi fa sol la sib si -d -b
167 catalan.ly do re mi fa sol la sib si -d/-s -b
175 The optional octave specification takes the form of a series of
176 single quote (`@code{'}') characters or a series of comma
177 (`@code{,}') characters. Each @code{'} raises the pitch by one
178 octave; each @code{,} lowers the pitch by an octave.
180 @lilypond[fragment,verbatim,center]
181 c' c'' es' g' as' gisis' ais'
184 @c . {Defining pitch names}
185 @node Defining pitch names
186 @subsection Defining pitch names
188 @cindex defining pitch names
189 @cindex pitch names, defining
191 Note names and chord modifiers can be customised for nationalities. The
192 syntax is as follows.
194 @cindex @code{\pitchnames}
195 @cindex @code{\chordmodifiers}
197 \pitchnames @var{scheme-alist}
198 \chordmodifiers @var{scheme-alist}
201 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
202 specific examples how to do this.
208 @subsection Durations
212 @cindex @code{\duration}
214 The syntax for a verbose duration specification is
216 \duration @var{scmduration}
218 Here, @var{scmduration} is a Scheme object of type Duration. See
219 @ref{Duration} for more information.
222 In Note, Chord, and Lyrics mode, durations may be designated by numbers
223 and dots: durations are entered as their reciprocal values. For notes
224 longer than a whole note, use identifiers.
230 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
232 r1 r2 r4 r8 r16 r32 r64 r64
238 \notes \relative c'' {
239 a\longa a\breve \autoBeamOff
240 a1 a2 a4 a8 a16 a32 a64 a64
242 r1 r2 r4 r8 r16 r32 r64 r64
247 \remove "Clef_engraver";
248 \remove "Staff_symbol_engraver";
249 \remove "Time_signature_engraver";
250 \consists "Pitch_squash_engraver";
257 As you can see, the longa is not printed. To get a longa note head, you
258 have to use a mensural note heads. This is done accomplished by setting
259 the @code{style} property of the NoteHead grob to @code{mensural}.
261 If the duration is omitted then it is set to the previous duration
262 entered. At the start of parsing a quarter note is assumed. The
263 duration can be followed by a dot (`@code{.}') to obtain dotted note
267 @lilypond[fragment,verbatim,center]
273 You can alter the length of duration by appending
274 `@code{*}@var{fraction}'. This will not affect the appearance of the
275 notes or rests produced.
281 A note specification has the form
284 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
287 LilyPond will determine what accidentals to typeset depending on the key
288 and context. The alteration refers to what note is heard, not to whether
289 an accidental is printed. A reminder accidental
290 @cindex reminder accidental
292 can be forced by adding an exclamation mark @code{!} after the pitch. A
293 cautionary accidental,
294 @cindex cautionary accidental
295 i.e., an accidental within parentheses can be obtained by adding the
296 question mark `@code{?}' after the pitch.
298 @lilypond[fragment,verbatim,center]
299 cis' d' e' cis' c'? d' e' c'!
303 @node Easy Notation note heads
304 @subsection Easy Notation note heads
306 @cindex easy notation
309 A entirely different type of note head is the "easyplay" note head: a
310 note head that includes a note name. It is used in some publications by
311 Hal-Leonard Inc. music publishers.
313 @lilypond[singleline,verbatim]
314 \include "paper26.ly"
316 \notes { c'2 e'4 f' | g'1 }
317 \paper { \translator { \EasyNotation } }
321 Note that @code{EasyNotation} overrides a @code{Score} context. You
322 probably will want to print it with magnification to make it better
328 If you view the result with Xdvi, then staff lines will show through the
329 letters. Printing the postscript file obtained either by using dvips or
330 the @code{-f ps} option of lilypond will produce the desired result.
340 A tie connects two adjacent note heads of the same pitch. When used
341 with chords, it connects all of the note heads whose pitches match.
342 Ties are indicated using the tilde symbol `@code{~}'.
343 If you try to tie together chords which have no common pitches, a
344 warning message will appear and no ties will be created.
346 @lilypond[fragment,verbatim,center]
347 e' ~ e' <c' e' g'> ~ <c' e' g'>
350 If you dislike the amount of ties created for a chord, you set
351 @code{Voice.sparseTies} to true, resulting in a smaller number of
353 @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 shorthand 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
475 @subsection Key signature
480 Changing the key signature is done with the @code{\key} command.
482 @code{\key} @var{pitch} @var{type} @code{;}
485 @cindex @code{\minor}
486 @cindex @code{\major}
487 @cindex @code{\minor}
488 @cindex @code{\ionian}
489 @cindex @code{\locrian}
490 @cindex @code{\aeolian}
491 @cindex @code{\mixolydian}
492 @cindex @code{\lydian}
493 @cindex @code{\phrygian}
494 @cindex @code{\dorian}
496 Here, @var{type} should be @code{\major} or @code{\minor} to get
497 @var{pitch}-major or @var{pitch}-minor, respectively. The second
498 argument is optional; the default is major keys. The @var{\context}
499 argument can also be given as an integer, which tells the number of
500 semitones that should be added to the pitch given in the subsequent
501 @code{\key} commands to get the corresponding major key, e.g.,
502 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
503 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
504 @code{\phrygian}, and @code{\dorian} are also defined.
506 This command sets context property @code{Staff.keySignature}.
508 @cindex @code{keySignature}
515 \clef @var{clefname} @code{;}
521 \property Staff.clefGlyph = @var{glyph associated with clefname}
522 \property Staff.clefPosition = @var{clef Y-position for clefname}
523 \property Staff.clefOctavation = @var{extra pitch of clefname}
526 Supported clef-names include
529 @item treble, violin, G, G2: G clef on 2nd line
530 @item french: G clef on 1st line
531 @item soprano: C clef on 1st line
532 @item mezzosoprano: C clef on 2nd line
533 @item alto: C clef on 3rd line
534 @item tenor: C clef on 4th line
535 @item baritone: C clef on 5th line
536 @item varbaritone: F clef on 3rd line
537 @item bass, F: F clef on 4th line
538 @item subbass: F clef on 5th line
539 @item percussion: percussion clef
542 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
545 @item clefs-C: modern style C clef
546 @item clefs-F: modern style F clef
547 @item clefs-G: modern style G clef
548 @item clefs-vaticana_do: Editio Vaticana style do clef
549 @item clefs-vaticana_fa: Editio Vaticana style fa clef
550 @item clefs-medicaea_do: Editio Medicaea style do clef
551 @item clefs-medicaea_fa: Editio Medicaea style fa clef
552 @item clefs-mensural1_c: modern style mensural C clef
553 @item clefs-mensural2_c: historic style small mensural C clef
554 @item clefs-mensural3_c: historic style big mensural C clef
555 @item clefs-mensural1_f: historic style traditional mensural F clef
556 @item clefs-mensural2_f: historic style new mensural F clef
557 @item clefs-mensural_g: historic style mensural G clef
558 @item clefs-hufnagel_do: historic style hufnagel do clef
559 @item clefs-hufnagel_fa: historic style hufnagel fa clef
560 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
561 @item clefs-percussion: modern style percussion clef
564 @emph{Modern style} means ``as is typeset in current editions.''
565 @emph{Historic style} means ``as was typeset or written in contemporary
566 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
569 @cindex Vaticana, Editio
570 @cindex Medicaea, Editio
571 @cindex hufnagel clefs
574 @c . {Time signature}
576 @subsection Time signature
577 @cindex Time signature
581 The time signature is changed by the @code{\time} command. Syntax:
583 \time @var{numerator}@code{/}@var{denominator} @code{;}
585 Internally, this is a shortcut for doing
587 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
590 [TODO: discuss options for layout]
597 @cindex partial measure
598 @cindex measure, partial
599 @cindex shorten measures
600 @cindex @code{\partial}
602 Partial measures are entered using the @code{\partial} command:
604 \partial @var{duration} @code{;}
607 Internally, this is a shortcut for
610 \property Score.measurePosition = -@var{length of duration}
615 @node Unmetered music
616 @subsection Unmetered music
618 Bar lines and bar numbers are calculated automatically. For unmetered
619 music (e.g. cadenzas), this is not desirable. The property
620 @code{Score.timing} can be used to switch off this automatic timing
622 @lilypond[fragment,relative,singleline,verbatim]
624 \property Score.timing = ##f
626 \property Score.timing = ##t
630 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
631 achieve the same effect.
637 @subsection Bar lines
641 @cindex measure lines
648 This is a shortcut for doing
650 \property Score.whichBar = @var{bartype}
653 You are encouraged to use @code{\repeat} for repetitions. See
654 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
658 @cindex Bar_line_engraver
660 @cindex repeatCommands
661 @cindex defaultBarType
663 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
664 @code{whichBar} at every moment. Whenever it is set to a string, it will
665 create a bar with that type. @code{whichBar} is usually set
666 automatically: at the start of a measure it is set to
667 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
668 override default measure bars.
670 @code{whichBar} can also be set directly, using @code{\property} or
671 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
680 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
681 which contexts to instantiate. some small examples? ]
685 @cindex @code{\shiftOff}
686 @item @code{\shiftOff}
687 Disable horizontal shifting of note heads that collide.
689 @cindex @code{\shiftOn}
690 @item @code{\shiftOn}
691 Enable note heads that collide with other note heads to be
692 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
693 set different shift values.
695 @cindex @code{\stemBoth}
696 @item @code{\stemBoth}
697 Allow stems and beams to point either upwards or
698 downwards, decided automatically by LilyPond.
700 @cindex @code{\stemDown}
701 @item @code{\stemDown}
702 Force stems and beams to point down.
704 @cindex @code{\stemUp}
706 Force stems and beams to point up.
709 @cindex @code{\slurBoth}
710 @cindex @code{\slurDown}
711 @cindex @code{\slurUp}
712 Similarly, for slurs use
717 @cindex @code{\tieBoth}
718 @cindex @code{\tieDown}
719 @cindex @code{\tieUp}
725 @cindex @code{\dynacmicBoth}
726 @cindex @code{\dynamicDown}
727 @cindex @code{\dynamicUp}
733 @c text scripts? articulation scripts? fingering?
735 @cindex @code{\voiceOne}
736 @cindex @code{\voiceTwo}
737 @cindex @code{\voiceThree}
738 @cindex @code{\voiceFour}
739 @cindex @code{\oneVoice}
740 @cindex @code{\shiftOn}
741 @cindex @code{\shiftOff}
743 If two voices sharing one staff have the same stem directions, their
744 note heads may collide. You can shift the note heads of one voice by
745 setting @code{\shiftOn}. This can be undone by setting
748 For simple polyphonic music, shorthands are available that combine
749 directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
750 @code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
756 Beams are used to group short notes into chunks that are aligned with
757 the metrum. LilyPond guesses where beams should be inserted, but if
758 you're not satisfied with the automatic beaming, you can either instruct
759 lilypond which patterns to beam automatically. In specific cases, you
760 can also specify explicitly what to beam and what not.
763 @c . {Automatic beams}
764 @subsection Automatic beams
766 @cindex @code{Voice.autoBeamSettings}
767 @cindex @code{(end * * * *)}
768 @cindex @code{(begin * * * *)}
770 A large number of Voice properties are used to decide how to generate
771 beams. Their default values appear in @file{scm/auto-beam.scm}.
773 By default, automatic beams can start on any note@footnote{In exotic
774 time signatures such as 1/8 and 1/16 this is not true} but can only end
775 in a few positions within the measure: they can end on a beat, or at
776 durations specified by the properties in
777 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
778 are defined in @file{scm/auto-beam.scm}.
780 The syntax for changing the value @code{autoBeamSettings} is set using
781 @code{\override} and unset using @code{\revert}:
783 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
784 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
786 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
787 whether the rule applies to begin or end-points. The quantity
788 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
789 designate all time signatures), @var{P}/@var{Q} refers to the length of
790 the beamed notes (@code{* *} designate notes of any length).
792 If you want automatic beams to end on every quarter note, you can
795 \property Voice.autoBeamSettings \override
796 #'(end * * * *) = #(make-moment 1 4)
798 The duration a quarter note is 1/4 of a whole note. It is entered as
799 @code{(make-moment 1 4)}.
801 The same syntax can be used to specify beam starting points. In this
802 example, you automatic beams can only end on a dotted quarter note.
804 \property Voice.autoBeamSettings \override
805 #'(begin * * * *) = #(make-moment 3 8)
807 In 4/4 time signature, this means that automatic beams could end only on
808 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
809 3/8 has passed within the measure).
811 You can also restrict rules to specific time signatures. A rule that
812 should only be applied in @var{N}/@var{M} time signature is formed by
813 replacing the first asterisks by @var{N} and @var{M}. For example, a
814 rule for 6/8 time exclusively looks like
816 \property Voice.autoBeamSettings \override
817 #'(begin 6 8 * *) = ...
820 If you want a rule to apply to certain types of beams, you can use the
821 second pair of asterisks. Beams are classified according to the shortest
822 note they contain. For a beam ending rule that only applies to beams
823 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
826 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
828 Automatic beams can not be put on the last note in a score.
830 @cindex automatic beam generation
832 @cindex @code{Voice.noAutoBeaming}
834 Automatic beaming is on by default, but it can switched off by setting
835 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
836 a melody that goes with lyrics.
840 It is not possible to specify beaming for beams with mixed durations,
841 that differs from the beaming of all separate durations, ie, you'll
842 have to specify manual beams to get:
843 @lilypond[fragment,singleline,relative]
844 \property Voice.autoBeamSettings
845 \override #'(end * * * *) = #(make-moment 3 8)
846 \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
851 @cindex Automatic beams
852 @subsection Manual beams
853 @cindex beams, manual
857 In some cases it may be necessary to override LilyPond's automatic
858 beaming algorithm. For example, the auto beamer will not beam over
859 rests or bar lines, so if you want that, specify the begin and end point
860 manually using @code{[} and @code{]}:
863 @lilypond[fragment,relative,verbatim]
865 r4 [r8 g'' a r8] r8 [g | a] r8
868 Whenever an manual beam is busy, the auto beam will not produce
871 @cindex @code{stemLeftBeamCount}
873 If you have specific wishes for the number of beams, you can fully
874 control the number of beams through the properties
875 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
877 @lilypond[fragment,relative,verbatim]
880 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
884 @cindex @code{stemRightBeamCount}
886 The beam symbol can be tweaked through @code{Voice.Beam}'s
887 grob-properties @code{height} and @code{staff-position},
890 Set @code{height} to zero, to get horizontal beams:
893 @lilypond[fragment,relative,verbatim]
894 \property Voice.Beam \set #'direction = #1
895 \property Voice.Beam \set #'height = #0
900 Here's how you'd specify a weird looking beam that instead of being
901 horizontal, falls two staff spaces:
904 @lilypond[fragment,relative,verbatim]
905 \property Voice.Beam \set #'staff-position = #2
906 \property Voice.Beam \set #'height = #-2
910 @cindex @code{default-neutral-direction}
912 @node Expressive marks
913 @section Expressive marks
928 A slur indicates that notes are to be played bound or @emph{legato}. In
929 lilypond, they are entered using parentheses:
930 @lilypond[fragment,verbatim,center]
931 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
935 Slurs avoid crossing stems, and are attached to note heads whenever
936 possible. In some instances involving beams slurs may be attached to a
937 stem end. If you want to override this layout you can do this through
938 @code{Voice.Slur}'s grob-property @code{attachment}:
940 Maybe reinclude other slur features and move back to tricks? Esp. the
941 second example, how to fix, can be very helpful.
944 @lilypond[fragment,relative,verbatim]
945 \property Voice.Slur \set #'direction = #1
946 \property Voice.Stem \set #'length = #5.5
948 \property Voice.Slur \set #'attachment = #'(stem . stem)
953 If a slur would strike through a stem or beam, the slur will be moved
954 away upward or downward. If this happens, attaching the slur to the
955 stems might look better:
958 @lilypond[fragment,relative,verbatim]
959 \property Voice.Stem \set #'direction = #1
960 \property Voice.Slur \set #'direction = #1
962 \property Voice.Slur \set #'attachment = #'(stem . stem)
968 Similarly, the curvature of a slur is adjusted to stay clear of note
969 heads and stems. When that would increase the curvature too much, the
970 slur is reverted to its default shape. The threshold for this decision
971 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
972 related to the enclosed area between the slur and the notes. Usually,
973 the default setting works well, but in some cases you may prefer a
974 curved slur when LilyPond decides for a vertically moved one. You can
975 express this by increasing the @code{beautiful} value:
977 @lilypond[verbatim,singleline,relative]
978 \property Voice.Beam \override #'direction = #-1
979 \property Voice.Slur \override #'direction = #1
980 c'16( a' f' a a f a, )c,
982 \property Voice.Slur \override #'beautiful = #5.0
988 The definition for @code{beautiful} is vague, the default setting is
989 experimental computer science.
991 @cindex Adusting slurs
994 @subsection Phrasing slur
996 @cindex phrasing slur
997 @cindex phrasing mark
999 A phrasing slur (or phrasing mark) connects chords and is used to
1000 indicate a musical sentence. It is entered using @code{\(} and
1003 @lilypond[fragment,verbatim,center,relative]
1004 \time 6/4; c''\((d)e f(e)\)d
1007 Typographically, the phrasing slur behaves almost exactly like a normal
1008 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1011 @subsection Breath marks
1013 Breath marks are entered using @code{\breathe}:
1015 @lilypond[fragment,relative]
1019 Currently, only tick marks are supported, comma style breath marks are
1020 not. The grob for this object is called @code{Voice.BreathingSign}.
1025 Currently, only tick marks are supported, comma style breath marks are
1033 @cindex beats per minute
1034 @cindex metronome marking
1036 @cindex @code{\tempo}
1038 \tempo @var{duration} = @var{perminute} @code{;}
1041 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1042 output with 76 quarter notes per minute.
1046 The tempo setting is not printed, but is currently only used in the MIDI
1052 @subsection Text spanner
1053 @cindex Text spanner
1055 Some textual indications, e.g. rallentando, accelerando, often extend
1056 over a many measures. This is indicated by following the text with a
1057 dotted line. You can create such texts in LilyPond using
1058 text spanners. The syntax is as follows:
1060 \spanrequest \start "text"
1061 \spanrequest \stop "text"
1063 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1064 string to be printed, as well as the style is set through grob
1067 An application---or rather, a hack---is to fake octavation indications.
1068 @lilypond[fragment,relative,verbatim]
1069 \relative c' { a'''' b c a
1070 \property Voice.TextSpanner \set #'type = #'dotted-line
1071 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1072 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1073 \property Staff.centralCPosition = #-13
1074 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1090 @subsection Articulation
1091 @cindex Articulation
1093 @cindex articulations
1097 A variety of symbols can appear above and below notes to indicate
1098 different characteristics of the performance. These symbols can be
1099 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1100 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1101 forced to appear above or below the note by writing
1102 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1103 respectively. Here is a chart showing symbols above notes, with the
1104 name of the corresponding symbol appearing underneath.
1109 \property Score.LyricSyllable \override #'font-family =
1111 \property Score.LyricSyllable \override #'font-shape = #'upright
1112 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1113 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1114 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1115 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1116 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1117 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1118 c''-\thumb c''-\segno c''-\coda
1120 \context Lyrics \lyrics {
1121 accent__ marcato__ staccatissimo__ fermata
1122 stopped__ staccato__ tenuto__ upbow
1123 downbow__ lheel__ rheel__ ltoe
1124 rtoe__ turn__ open__ flageolet
1125 reverseturn__ trill__ prall__ mordent
1126 prallprall__ prallmordent__ uprall__ downprall
1127 thumb__ segno__ coda
1131 linewidth = 5.875\in;
1137 To save typing work, some shorthands are available:
1138 @lilypond[singleline]
1140 \notes \context Voice {
1141 \property Voice.TextScript \set #'font-family = #'typewriter
1142 \property Voice.TextScript \set #'font-shape = #'upright
1148 c''4-^_"c-\\^{ }" s4
1155 Fingering instructions can also be entered in this shorthand.
1156 @lilypond[verbatim, singleline, fragment]
1157 c'4-1 c'4-2 c'4-3 c'4-4
1161 @cindex @code{\script}
1170 Defines a script printing request. The argument is a string which
1171 points into the script-alias table defined in @file{scm/script.scm}.
1172 Usually the @code{\script} keyword is not used directly. Various
1173 helpful identifier definitions appear in @file{script.ly}.
1175 For information on how to add scripts, consult @file{scm/script.scm}.
1180 All of these note ornaments appear in the printed output but have no
1181 effect on the MIDI rendering of the music.
1183 Unfortunately, there is no support adding fingering instructions or
1184 ornaments to individual note heads. Some hacks exist, though. See
1185 @file{input/test/script-horizontal.ly}.
1190 @subsection Text scripts
1191 @cindex Text scripts
1193 In addition, it is possible to place arbitrary strings of text or markup
1194 text (see @ref{Text markup}) above or below notes by using a string:
1195 @code{c^"text"}. The text is typeset in italic by default.
1197 The amount of space taken by these indications by default does not
1198 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1199 take the widths into account. The identifier @code{\fattext} is defined
1200 in the standard includes.
1201 @lilypond[fragment,singleline,verbatim]
1202 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1205 Text scripts are created in form of @code{Voice.TextScript} grobs.
1207 For purposes of defining identifiers, a more verbose form also exists:
1210 \textscript @var{text}
1213 Defines a text to be printed over or under a note. @var{text} is a
1214 string or a markup text.
1218 foo = \textscript #'(finger "6")
1225 This is equivalent to @code{c4-6 c4-"foo"}.
1230 @subsection Grace notes
1239 @cindex @code{\grace}
1242 @cindex @code{graceAlignPosition}
1244 Grace notes are ornaments that are written out, but do not take up any
1245 logical time in a measure. LilyPond has limited support for grace notes.
1246 The syntax is as follows.
1248 \grace @var{musicexpr}
1251 When grace music is interpreted, a score-within-a-score is set up:
1252 @var{musicexpr} has its own time bookkeeping, and you could (for
1253 example) have a separate time signature within grace notes. While in
1254 this score-within-a-score, you can create notes, beams, slurs, etc.
1255 Unbeamed eighth notes and shorter by default have a slash through the
1256 stem. This behavior can be controlled with the
1257 @code{Stem}.@code{flag-style} property.
1260 @lilypond[fragment,verbatim]
1262 \grace c8 c4 \grace { [c16 c16] } c4
1263 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1270 At present, nesting @code{\grace} notes is not supported. The following
1271 may cause run-time errors:
1273 @code{\grace @{ \grace c32 c16 @} c4}
1275 Since the meaning of such a construct is unclear, we don't consider this
1276 a loss. Similarly, juxtaposing two @code{\grace} sections is
1277 syntactically valid, but makes no sense and may cause runtime errors.
1278 Ending a staff or score with grace notes may also generate a run-time
1279 error, since there will be no main note to attach the grace notes to.
1282 A grace note expression has duration 0; the next real note is assumed to
1283 be the main note. If you want the note to appear after the main note,
1284 set @code{Voice.graceAlignPosition} to @code{1}.
1288 The present implementation of grace notes is not robust and generally
1289 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1290 also be implemented.
1303 @subsubsection Glissando
1306 @cindex @code{\glissando}
1308 A glissando line can be requested by attaching a @code{\glissando} to a
1312 @lilypond[fragment,relative,verbatim]
1319 Printing of an additional text (such as @emph{gliss.}) must be done
1326 @subsubsection Dynamics
1339 @cindex @code{\ffff}
1349 Absolute dynamic marks are specified by using an identifier after a
1350 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1351 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1352 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1353 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1356 @cindex Crescendo and Decrescendo
1360 @cindex @code{\decr}
1361 @cindex @code{\rced}
1367 A crescendo mark is started with @code{\cr} and terminated with
1368 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1369 started with @code{\decr} and terminated with @code{\rced}. There are
1370 also shorthands for these marks. A crescendo can be started with
1371 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1372 can be terminated with @code{\!}. Note that @code{\!} must go before
1373 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1374 after the last note. Because these marks are bound to notes, if you
1375 want to get several marks during one note, you must use spacer notes.
1377 @lilypond[fragment,verbatim,center]
1378 c'' \< \! c'' d'' \decr e'' \rced
1379 < f''1 { s4 \< \! s2 \> \! s4 } >
1384 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1385 is an example how to do it:
1387 @lilypond[fragment,relative,verbatim]
1389 \property Voice.crescendoText = "cresc."
1390 \property Voice.crescendoSpanner = #'dashed-line
1406 @cindex @code{\repeat}
1408 To specify repeats, use the @code{\repeat} keyword. Since repeats
1409 should work differently when played or printed, there are a few
1410 different variants of repeats.
1414 Repeated music is fully written (played) out. Useful for MIDI
1418 This is the normal notation: Repeats are not written out, but
1419 alternative endings (voltas) are printed, left to right.
1422 Alternative endings are written stacked. Which is unfortunately not
1423 practical for anything right now.
1429 Make measure repeats. These look like percent signs.
1435 * Manual repeat commands::
1437 * Tremolo subdivision::
1442 @subsection Repeat syntax
1444 The syntax for repeats is
1447 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1450 If you have alternative endings, you may add
1451 @cindex @code{\alternative}
1453 \alternative @code{@{} @var{alternative1}
1455 @var{alternative3} @dots{} @code{@}}
1457 where each @var{alternative} is a music expression.
1459 Normal notation repeats are used like this:
1460 @lilypond[fragment,verbatim]
1462 \repeat volta 2 { c'4 d' e' f' }
1463 \repeat volta 2 { f' e' d' c' }
1466 With alternative endings:
1468 @lilypond[fragment,verbatim]
1470 \repeat volta 2 {c'4 d' e' f'}
1471 \alternative { {d'2 d'} {f' f} }
1475 Folded repeats look like this:@footnote{Folded repeats offer little
1476 more over simultaneous music. However, it is to be expected that
1477 more functionality -- especially for the MIDI backend -- will be
1478 implemented at some point in the future.}
1481 @lilypond[fragment,verbatim]
1483 \repeat fold 2 {c'4 d' e' f'}
1484 \alternative { {d'2 d'} {f' f} }
1490 If you don't give enough alternatives for all of the repeats, then
1491 the first alternative is assumed to be repeated often enough to equal
1492 the specified number of repeats.
1495 @lilypond[fragment,verbatim]
1499 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1500 \alternative { { g4 g g } { a | a a a a | b2. } }
1508 As you can see, LilyPond doesn't remember the timing information, nor
1509 are slurs or ties repeated, so you have to reset timing information
1510 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1511 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1514 It is possible to nest @code{\repeat}, although it probably is only
1515 meaningful for unfolded repeats.
1517 @node Manual repeat commands
1518 @subsection Manual repeat commands
1520 @cindex @code{repeatCommands}
1522 The property @code{repeatCommands} can be used to control the layout of
1523 repeats. Its value is a Scheme list of repeat commands, where each repeat
1531 @item (volta . @var{text})
1532 Print a volta bracket saying @var{text}.
1534 Stop a running volta bracket
1537 @lilypond[verbatim, fragment]
1539 \property Score.repeatCommands = #'((volta "93") end-repeat)
1541 \property Score.repeatCommands = #'((volta #f))
1546 @node Tremolo repeats
1547 @subsection Tremolo repeats
1548 @cindex tremolo beams
1550 To place tremolo marks between notes, use @code{\repeat} with tremolo
1552 @lilypond[verbatim,center,singleline]
1554 \context Voice \notes\relative c' {
1555 \repeat "tremolo" 8 { c16 d16 }
1556 \repeat "tremolo" 4 { c16 d16 }
1557 \repeat "tremolo" 2 { c16 d16 }
1558 \repeat "tremolo" 4 c16
1566 At present, the spacing between tremolo beams is not regular, since the
1567 spacing engine does not notice that not all notes are printed.
1569 @node Tremolo subdivision
1570 @subsection Tremolo subdivision
1571 @cindex tremolo marks
1572 @cindex @code{tremoloFlags}
1574 Tremolo marks can be printed on a single note by adding
1575 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1576 A @var{length} value of 8 gives one line across the note stem. If the
1577 length is omitted, then then the last value (stored in
1578 @code{Voice.tremoloFlags}) is used.
1580 @lilypond[verbatim,fragment,center]
1583 Using this mechanism pays off when you entering many tremolos, since the
1584 default argument saves a lot of typing.
1589 Tremolos in this style do not carry over into the MIDI output.
1592 @node Measure repeats
1593 @subsection Measure repeats
1595 @cindex percent repeats
1596 @cindex measure repeats
1598 In the @code{percent} style, a note pattern can be repeated. It is
1599 printed once, and then the pattern is replaced with a special sign.
1601 @lilypond[verbatim,singleline]
1602 \context Voice { \repeat "percent" 5 { c'1 } }
1605 At present, only repeats of whole measures are supported.
1607 @node Rhythmic music
1608 @section Rhythmic music
1615 @node Rhythmic staffs
1616 @subsection Rhythmic staffs
1618 Some times you might want to show only the rhythm of a melody. This can
1619 be done with the rhythmic staff. All pitches of notes on such a staff
1620 are squashed, and the staff itself looks has a single staff line:
1622 @lilypond[fragment,relative ]
1623 \context RhythmicStaff {
1625 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1632 @section Piano music
1634 Piano music is an odd type of notation: two staffs are largely
1635 independent, but sometimes voices can cross between the two staffs. The
1636 @code{PianoStaff} is especially built to handle this cross-staffing
1637 behavior. In this section we discuss the @code{PianoStaff} and some
1638 other pianistic peculiarities.
1641 * Automatic staff changes::
1642 * Manual staff switches::
1649 @c . {Automatic staff changes}
1650 @node Automatic staff changes
1651 @subsection Automatic staff changes
1652 @cindex Automatic staff changes
1654 Voices can be switched from top to bottom staff automatically. The
1657 \autochange @var{contexttype} @var{musicexp}
1659 This will switch notation context of @var{musicexp} between a
1660 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1661 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1662 of pitch (central C is the turning point), and it looks ahead skipping
1663 over rests to switch rests in advance.
1665 @lilypond[verbatim,singleline]
1666 \score { \notes \context PianoStaff <
1667 \context Staff = "up" {
1668 \autochange Staff \context Voice = VA < \relative c' {
1669 g4 a b c d r4 a g } > }
1670 \context Staff = "down" {
1676 Note how spacer rests are used to prevent the bottom staff from
1677 terminating too soon.
1680 @node Manual staff switches
1681 @subsection Manual staff switches
1683 @cindex manual staff switches
1684 @cindex staff switch, manual
1686 Voices can be switched between staffs manually, using the following command:
1688 \translator Staff = @var{which} @var{music}
1690 The string @var{which} is the name of the staff. Typically it is
1691 @code{"up"} or @code{"down"}.
1693 Formally, this construct is a music expression indicating that the
1694 context which is a direct child of the a context of type
1695 @var{contexttype} should be shifted to a context of type
1696 @var{contexttype} and the specified name.
1698 @cindex @code{\translator}
1700 \translator @var{contexttype} = @var{name}
1709 Piano pedal instruction can be expressed using
1710 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1711 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1713 These identifiers are shorthands for spanner commands of the types
1714 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1716 @lilypond[fragment,verbatim]
1717 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1720 The symbols that are printed can be modified by setting
1721 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1722 types. Refer to the generated documentation for more information.
1727 Currently, brackets are not supported, only text markings (ie. *Ped
1733 @subsection Arpeggio
1736 @cindex broken arpeggio
1737 @cindex @code{\arpeggio}
1739 You can specify an arpeggio sign on a chord by attaching an
1740 @code{\arpeggio} to a note of the chord.
1744 @lilypond[fragment,relative,verbatim]
1745 \context Voice <c'\arpeggio e g c>
1749 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1750 to the chords in both staffs, and set
1751 @code{PianoStaff.connectArpeggios}.
1754 @lilypond[fragment,relative,verbatim]
1755 \context PianoStaff <
1756 \property PianoStaff.connectArpeggios = ##t
1757 \context Voice = one { <c''\arpeggio e g c> }
1758 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1763 This command creates @code{Arpeggio} grobs.
1767 It is not possible to mix
1768 connected arpeggios and unconnected arpeggios at the same time.
1771 @c . {VoiceFollower}
1773 @subsection VoiceFollower
1775 @cindex follow voice
1776 @cindex staff switching
1779 @cindex @code{followVoice}
1781 Whenever a voice switches to another staff a line connecting the notes
1782 can be printed automatically. This is enabled if the property
1783 @code{PianoStaff.followVoice} is set to true:
1786 @lilypond[fragment,relative,verbatim]
1787 \context PianoStaff <
1788 \property PianoStaff.followVoice = ##t
1789 \context Staff \context Voice {
1791 \translator Staff=two
1794 \context Staff=two {\clef bass; \skip 1*2;}
1808 * Automatic syllable durations::
1814 @subsection Lyrics mode
1817 To print lyrics in LilyPond, you must first make a music expression from
1818 the lyric text. When they're in a music expression, that music
1819 expression can be printed by selecting an appropriate context. We shall
1820 discuss lyric printing in this order.
1824 @cindex @code{\lyrics}
1826 You can enter lyrics in a special input mode of LilyPond. This mode is
1827 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1828 The purpose of this mode is that you can enter lyrics as plain text,
1829 punctuation and accents without any hassle.
1831 The precise definition of this mode is in @ref{Lyrics mode
1832 definition}. The definition itself is ludicrous, and this will remain so
1833 until the authors of LilyPond acquire a deeper understanding of
1834 character encoding, or someone else steps up to fix this.
1836 Syllables are entered like notes, with pitches replaced by text. For
1837 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1838 the hyphen has no special meaning for lyrics, and does not introduce
1841 Spaces can be introduced into a lyric either by using quotes
1842 (@code{"}) or by using an underscore without quotes: @code{He_could4
1843 not4}. All unquoted underscores are converted to spaces.
1845 @c . {Printing lyrics}
1846 @node Printing lyrics
1847 @subsection Printing lyrics
1850 Normally, you will want to have notes and syllables matched
1851 automatically. This is accomplished using @code{\addlyrics}, which is
1852 documented in @ref{Automatic syllable durations}. Setting
1853 @code{automaticMelismata} in the melody staff, will cause slurs to be
1854 interpreted as melismata. Lyric syllables must be interpreted within a
1855 @code{Lyrics} context in order to printing them.
1857 @lilypond[verbatim,singleline]
1858 \addlyrics \notes \relative c' {
1860 \property Staff.automaticMelismata = ##t
1863 \context Lyrics \lyrics {
1865 share the so -- ftware; }
1869 @cindex lyric extender
1872 As you can see, extender lines are entered as @code{__}. This will
1873 create an extender, a line that extends over the entire duration of the
1874 lyric. This line will run all the way to the start of the next lyric,
1875 so you may want to shorten it by using a blank lyric (using @code{_}).
1879 If you want to have hyphens centered between syllables (rather than
1880 attached to the end of the first syllable) you can use the special
1881 `@code{-}@code{-}' lyric as a separate word between syllables. This
1882 will result in a hyphen which length varies depending on the space
1883 between syllables, and which will be centered between the syllables.
1885 @cindex Lyric hyphen
1887 @node Automatic syllable durations
1888 @subsection Automatic syllable durations
1889 @cindex Automatic syllable durations
1891 @cindex automatic lyric durations
1892 @cindex @code{\addlyrics}
1894 If you have lyrics that are set to a melody, you can import the rhythm
1895 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1898 \addlyrics @var{musicexpr1 musicexpr2}
1901 This means that both @var{musicexpr1} and @var{musicexpr2} are
1902 interpreted, but that every non-command atomic music expression
1903 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1904 of @var{musicexpr1}.
1905 @cindex @code{automaticMelismata}
1907 If the property @code{automaticMelismata} is set in the
1908 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1911 @lilypond[verbatim,fragment]
1914 \property Voice.automaticMelismata = ##t
1915 c8 () cis d8. e16 f2
1917 \context Lyrics \lyrics {
1921 If you want the lyric lines to be above the melody staff, or in some
1922 other, more complex configuration, then build that configuration first
1923 using simultaneous music, and use @code{\addlyrics} after that.
1925 @lilypond[verbatim, singleline]
1927 \context Lyrics = LA { s1 }
1928 \context Staff = SA { s1 }
1930 \context Staff = SA \relative c' { c4 e g g }
1931 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1934 For @code{\addlyrics} you should use a single rhythm melody, and single
1935 rhythm lyrics (a constant duration is the obvious choice). If you do
1936 not, you can get undesired effects when using multiple stanzas:
1938 @lilypond[verbatim,fragment]
1941 c8 () cis d8. e16 f2
1943 \context Lyrics \lyrics
1948 It is valid (but probably not very useful) to use notes instead of
1949 lyrics for @var{musicexpr2}.
1952 @subsection More stanzas
1956 If you have multiple stanzas printed underneath each other, the separate
1957 syllables should be aligned around punctuation. LilyPond can do this if
1958 you explain it which lyric lines belong to which melody.
1960 To this end, give the Voice context an identity, and set the LyricsVoice
1961 to name starting with that identity. In the following example, the Voice
1962 identity is @code{duet}, and the identities of the LyricsVoices are
1963 @code{duet-1} and @code{duet-2}.
1966 @lilypond[singleline,verbatim]
1969 \notes \relative c'' \context Voice = duet { \time 3/4;
1971 \lyrics \context Lyrics <
1972 \context LyricsVoice = "duet-1" {
1973 \property LyricsVoice . stanza = "Bert"
1974 Hi, my name is bert. }
1975 \context LyricsVoice = "duet-2" {
1976 \property LyricsVoice . stanza = "Ernie"
1977 Ooooo, ch\'e -- ri, je t'aime. }
1982 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1983 first system) and @code{LyricsVoice.stz} for the following systems.
1985 @cindex stanza numbering
1993 LilyPond has support for both entering and printing chords. Chords are
1994 a harmonic device that is characterized by a set of pitches. It is
1995 something different from simultaneous music, although you can express a
1996 chord using simultaneous music. In fact, chords are internally stored as
1997 simultaneous music expressions. This means you can enter chords by name,
1998 and print them as note head, or enter as notes and print as chord names:
2001 @lilypond[verbatim,singleline]
2002 twoWays = \notes \transpose c'' {
2012 < \context ChordNames \twoWays
2013 \context Staff \twoWays > }
2016 Note that this example also shows that the LilyPond chord does not
2017 attempt to be intelligent, if you enter @code{f bes d}, it does no
2018 attempt to find out whether it this is an inversion.
2022 * Printing named chords::
2027 @subsection Chords mode
2030 Chord mode is a mode where you can input sets of pitches using common
2031 names. It is introduced by the keyword @code{\chords}. It is similar
2032 to note mode, but words are also looked up in a chord modifier table
2033 (containing @code{maj}, @code{dim}, etc).
2035 Dashes and carets are used to indicate chord additions and subtractions,
2036 so articulation scripts can not be entered in Chord mode.
2038 The syntax for named chords is as follows:
2041 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2044 @var{tonic} should be the tonic note of the chord, and @var{duration}
2045 is the chord duration in the usual notation. There are two kinds of
2046 modifiers. One type is @emph{chord additions}, which are obtained by
2047 listing intervals separated by dots. An interval is written by its
2048 number with an optional @code{+} or @code{-} to indicate raising or
2049 lowering by half a step. Chord additions has two effects: It adds
2050 the specified interval and all lower odd numbered intervals to the
2051 chord, and it may lower or raise the specified interval. Intervals
2052 must be separated by a dot (@code{.}).
2054 Throughout these examples, chords have been shifted around the staff
2055 using @code{\transpose}.
2060 @lilypond[fragment,verbatim]
2064 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2076 The second type of modifier that may appear after the @code{:} is a
2077 named modifier. Named modifiers are listed in the file
2078 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2079 @code{min} which lower the 3rd half a step, `@code{aug}' which
2080 raises the 5th, `@code{dim}' which lowers the 5th,
2081 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2082 which replaces the 5th with a 4th.
2086 @lilypond[fragment,verbatim]
2089 c1:m c:min7 c:maj c:aug c:dim c:sus
2097 Chord subtractions are used to eliminate notes from a chord. The
2098 notes to be subtracted are listed after a @code{^} character,
2101 @lilypond[fragment,verbatim,center]
2110 Chord inversions can be specified by appending `@code{/}' and the name
2111 of a single note to a chord. In a chord inversion, the inverted note is
2112 transposed down until it is the lowest note in the chord. If the
2113 specified note is not in the chord, a warning will be printed.
2115 @lilypond[fragment,verbatim,center]
2125 Bass notes can be added by `@code{/+}' and
2126 the name of a single note to a chord. This has the effect of
2127 adding the specified note to the chord, lowered by an octave,
2128 so it becomes the lowest note in the chord.
2130 @lilypond[fragment,verbatim,center]
2142 @c . {Printing named chords}
2143 @node Printing named chords
2144 @subsection Printing named chords
2146 @cindex printing chord names
2149 @cindex @code{ChordNames}
2152 For displaying printed chord names, use the @code{ChordNames} context.
2153 The chords may be entered either using the notation described above, or
2154 directly using simultaneous music.
2157 @lilypond[verbatim,singleline]
2159 \chords {a1 b c} <d f g> <e g b>
2163 \context ChordNames \scheme
2164 \context Staff \transpose c'' \scheme
2170 You can make the chord changes stand out by setting property
2171 @code{ChordNames.chordChanges} to true. This will only display chord
2172 names when there's a change in the chords scheme and at the start of the
2178 c1:m \break c:m c:m c:m d
2183 \context ChordNames {
2184 \property ChordNames.chordChanges = ##t
2186 \context Staff \transpose c'' \scheme
2191 LilyPond examines chords specified as lists of notes to determine a name
2192 to give the chord. LilyPond will not try to identify chord inversions or
2193 added base, which may result in strange chord names when chords are
2194 entered as a list of pitches:
2199 @lilypond[verbatim,center,singleline]
2208 \context ChordNamesVoice \scheme
2209 \context Staff \scheme
2216 By default LilyPond uses chord name system proposed by Harald Banter
2217 (See @ref{Literature}). The system is is unambiguous and has a logical
2218 structure. Typical American style chord names may be selected by
2219 setting the @code{style} property of the @code{ChordNames.ChordName}
2220 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2223 Routines that determine the names to be printed are written in Scheme,
2224 and may be customized by the user. The code can be found in
2225 @file{scm/chord-name.scm}.
2227 [3 short examples showing differences between american, banter and jazz]
2230 @section Writing parts
2232 Orchestral music involves some special notation, both in the full score,
2233 as in the individual parts. This section explains how to tackle common
2234 problems in orchestral music.
2241 * Instrument names::
2243 * Sound output for transposing instruments::
2244 * Multi measure rests::
2245 * Automatic part combining::
2246 * Hara-kiri staffs::
2249 @c . {Rehearsal marks}
2250 @node Rehearsal marks
2251 @subsection Rehearsal marks
2252 @cindex Rehearsal marks
2254 @cindex @code{\mark}
2255 @cindex @code{Mark_engraver}
2258 \mark @var{unsigned};
2263 With this command, you can print a rehearsal mark above the system. You
2264 can provide a number, a string or a markup text as argument. If there is
2265 no argument, the property @code{rehearsalMark} is used and automatically
2268 @lilypond[fragment,verbatim]
2274 c1 \mark #'(music "scripts-segno") ;
2280 @subsection Bar numbers
2282 Bar numbers are printed at the start of the line by default. This is
2283 done by the @code{Bar_number_engraver} in the Score context.
2287 It is currently not possible to make boxed bar numbers, or print them at
2291 @node Instrument names
2292 @subsection Instrument names
2294 You can specify an instrument name for a staff by setting
2295 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2296 before the start of the staff. For the first start, @code{instrument} is
2297 used, for the next ones @code{instr} is used.
2299 @lilypond[verbatim,singleline]
2301 \property Staff.instrument = "ploink " { c''4 } }
2303 \translator { \StaffContext
2304 \consists "Instrument_name_engraver"; } } }
2307 This requires that you add the @code{Instrument_name_engraver} to the
2312 @subsection Transpose
2314 @cindex transposition of pitches
2315 @cindex @code{\transpose}
2317 A music expression can be transposed with @code{\transpose}. The syntax
2320 \transpose @var{pitch} @var{musicexpr}
2323 This means that middle C in @var{musicexpr} is transposed to
2326 @code{\transpose} distinguishes between enharmonic pitches: both
2327 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2328 a tone. The first version will print sharps and the second version
2332 @lilypond[fragment,verbatim]
2335 { \key e \major; c d e f }
2337 \transpose des'' { \key e \major; c d e f }
2338 \transpose cis'' { \key e \major; c d e f }
2344 If you want to use both @code{\transpose} and @code{\relative}, then
2345 you must use @code{\transpose} first. @code{\relative} will have no
2346 effect music that appears inside a @code{\transpose}.
2348 @node Sound output for transposing instruments
2349 @subsection Sound output transposing instruments
2351 When you want to play a score containing transposed and untransposed
2352 instruments, you have to instruct LilyPond the pitch offset (in
2353 semitones) for the transposed instruments. This is done using the
2354 @code{transposing} property. It does not affect printed output.
2356 @cindex @code{transposing}
2359 \property Staff.instrument = #"Cl. in B-flat"
2360 \property Staff.transposing = #-2
2364 @c . {Multi measure rests}
2365 @node Multi measure rests
2366 @subsection Multi measure rests
2367 @cindex Multi measure rests
2371 Multi measure rests are entered using `@code{R}'. It is specifically
2372 meant for entering parts: the rest can expand to fill a score with
2373 rests, or it can be printed as a single multimeasure rest This expansion
2374 is controlled by the property @code{Score.skipBars}. If this is set to true,
2375 Lily will not expand empty measures, and the appropriate number is added
2378 @lilypond[fragment,verbatim]
2379 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2382 Currently, there is no way to condense multiple rests into a single
2385 @cindex condensing rests
2387 @node Automatic part combining
2388 @subsection Automatic part combining
2389 @cindex automatic part combining
2390 @cindex part combiner
2392 Automatic part combining is used to merge two parts of music onto on
2393 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2394 and orchestral scores. When the two parts are identical for a period of
2395 time, only one is shown. In places where the two parts differ, stem
2396 directions are set automatically. Also, soli and @emph{a due} parts can be
2397 identified and marke.
2399 The syntax for part combining is
2402 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2405 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2406 combined into one context @var{context}. The names of the music
2407 expressions must start with the prefixes @code{one} and @code{two}.
2409 [Name of music expressions? is that context name? ]
2411 The most useful function of the part combiner to combining threads into
2412 one voice, as common for wind parts in orchestral scores:
2414 @lilypond[verbatim,singleline,fragment]
2416 \context Voice=one \partcombine Voice
2417 \context Thread=one \relative c'' {
2420 \context Thread=two \relative c'' {
2426 Notice that the first @code{g} appears only once, although it was
2427 specified twice (once in each Thread). Also note that stem, slur and tie
2428 directions are set automatically, depending whether there is a solo or
2429 unisono. The Thread called @code{one} always gets up stems, and "solo",
2430 while @code{two} always gets down stems and "Solo II".
2432 If you just want the splitting of Threads and setting of directions, and
2433 not the textual markings, you may set the property @var{soloADue} to
2434 false. This mode can be used to set hymns:
2436 @lilypond[verbatim,singleline,fragment]
2438 \property Staff.soloADue = ##f
2439 \context Voice=one \partcombine Voice
2440 \context Thread=one \relative c'' {
2443 \context Thread=two \relative c'' {
2449 There are a number of other properties that you can use to tweak
2450 the behavior of part combining, refer to the automatically generated
2451 documentation. Look for @code{Thread_devnull_engraver}
2452 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2456 In @code{soloADue} mode, when the two voices play the same notes on and
2457 off, the part combiner may typeset @code{a2} more than once in a
2460 @lilypond[fragment,singleline]
2462 \context Voice=one \partcombine Voice
2463 \context Thread=one \relative c'' {
2466 \context Thread=two \relative c'' {
2472 @cindex @code{Thread_devnull_engraver}
2473 @cindex @code{Voice_engraver}
2474 @cindex @code{A2_engraver}
2476 @node Hara-kiri staffs
2477 @subsection Hara-kiri staffs
2479 In orchestral scores, staffs that only have rests are usually removed.
2480 This saves some space. LilyPond also supports this through the
2481 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2482 of the Japanese Samourai warriors.} staff. This staff commits suicide
2483 when it finds itself to be empty after the line-breaking process---note
2484 that it will not disappear when it contains normal rests, you must use
2485 multi measure rests.
2487 The hara kiri staff is specialized version of the Staff context. It is
2488 available as the context identifier @code{\HaraKiriStaffContext}.
2489 Observe how the second staff in this example disappears in the second
2494 \notes \relative c' <
2495 \context Staff = SA { e4 f g a \break c1 }
2496 \context Staff = SB { c4 d e f \break R1 }
2500 \translator { \HaraKiriStaffContext }
2513 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2514 staff context symbol that appears at the end of a staff line. It
2515 anticipates the pitch of the first note(s) of the following line and
2516 thus helps the player or singer to manage line breaks during
2517 performance, thus enhancing readability of a score.
2522 \notes { c'1 d' e' d' \break c' d' e' d' }
2526 \consists Custos_engraver;
2527 Custos \override #'style = #'mensural;
2534 Custodes were frequently used in music notation until the 16th century.
2535 There were different appearences for different notation styles.
2536 Nowadays, they have survived only in special forms of musical notation
2537 such as via the @emph{editio vaticana} dating back to the beginning of
2540 For typesetting custodes, just put a @code{Custos_engraver} into the
2541 @code{StaffContext} when declaring the @code{\paper} block. In this
2542 block, you can also globally control the appearance of the custos symbol
2543 by setting the custos @code{style} property. Currently supported styles
2544 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2551 \consists Custos_engraver;
2552 Custos \override #'style = #'mensural;
2557 The property can also be set locally, for example in a @code{\notes}
2562 \property Staff.Custos \override #'style = #'vaticana
2563 c'1 d' e' d' \break c' d' e' d'
2567 @c . {Tuning output}
2569 @section Tuning output
2571 LilyPond tries to take as much formatting as possible out of your
2572 hands. Nevertheless, there are situations where it needs some help, or
2573 where you want to override its decisions. In this section we discuss
2574 ways to do just that.
2576 Notation output is specified in so called grobs (graphic objects). Each
2577 grob carries with it a set of properties (grob properties) specific to
2578 that object. For example, a stem grob has properties that specify its
2579 direction, length and thickness.
2582 The most common way of tuning the output is to alter the values of these
2583 properties. There are two ways of doing that: first, you can temporarily
2584 change the definition of a certain type of grob, thus affecting a whole
2585 set of objects. Second, you can select one specific object, and set a
2589 * Tuning groups of grobs ::
2590 * Tuning per grob ::
2596 @node Tuning groups of grobs
2597 @subsection Tuning groups of grobs
2599 @cindex grob description
2601 A grob definition is a Scheme association list, that is stored in a context
2602 property. By assigning to that property (using plain @code{\property}),
2603 you can change the resulting grobs.
2605 @lilypond[verbatim, fragment]
2606 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2609 The @code{\property} statement effectively empties the definition of the
2610 Stem object. One of the effects is that property specifying how it
2611 should be printed is erased, with the effect of rendering it invisible.
2617 This mechanism is fairly crude, since you can only set, but not modify,
2618 the definition of a grob. For this reason, there is a more advanced
2619 mechanism: you can add a property on top of an existing definition, or
2620 remove a property: @code{\override} adds a settings, @code{\revert}
2621 removes that setting.
2624 c'4 \property Voice.Stem \override #'thickness = #4.0
2625 c'4 \property Voice.Stem \revert #'thickness
2629 For the digirati, the grob description is an Scheme association
2630 list. Since it is singly linked, we can treat it as a stack, and
2631 @code{\override} and @code{\revert} are just push and pop
2632 operations. This pushing and popping is also used for overriding automatic
2635 If you revert a setting which was not set in the first place, then it
2636 has no effect. However, if the setting was set as a system default, it
2637 may remove the default value, and this may give surprising results,
2638 including crashes. In other words, if you use @code{\override} and
2639 @code{\revert}, be sure to balance the overrides and reverts.
2641 If balancing them is too much work, use the @code{\set} shorthand. It
2642 performs a revert followed by an override:
2644 \property Voice.Stem \set #'thickness = #2.0
2647 Formally the syntax for these constructions is
2649 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2650 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2651 \property @var{context}.@var{grobname} \revert @var{symbol}
2653 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2654 and @var{grobname} are strings and @var{value} is a Scheme expression.
2658 LilyPond will hang or crash if @var{value} contains cyclic references.
2662 @node Tuning per grob
2663 @subsection Tuning per grob
2665 @cindex \outputproperty
2667 A second way of tuning grobs is the more arcane @code{\outputproperty}
2669 Syntax is as follows
2671 \outputproperty @var{predicate} @var{symbol} = @var{value}
2673 Here @code{predicate} is a Scheme function taking a grob argument, and
2674 returning a boolean. This statement is processed by the
2675 @code{Output_property_engraver}. It instructs the engraver to feed all
2676 grobs that it sees to @var{predicate}. Whenever the predicate returns
2677 true, the grob property @var{symbol} will be set to @var{value}.
2679 You will need to combine this statement with @code{\context} to select
2680 the appropriate context to apply this to.
2682 If possible, avoid this feature: the semantics are not very clean, and
2683 the syntax and semantics are up for rewrite.
2685 Here are some random examples:
2687 @lilypond[fragment,verbatim,singleline]
2689 \context Staff \outputproperty
2690 #(make-type-checker 'note-head-interface)
2691 #'extra-offset = #'(0.5 . 0.75)
2695 @cindex @code{extra-offset}
2697 This selects all note heads occurring at current staff level, and sets
2698 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2701 Move the text "m.d.", but not the fingering instruction "2".
2702 @lilypond[verbatim,singleline]
2703 #(define (make-text-checker text)
2704 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2707 \notes\relative c''' {
2708 \property Voice.Stem \set #'direction = #1
2709 \outputproperty #(make-text-checker "m.d.")
2710 #'extra-offset = #'(-3.5 . -4.5)
2720 @subsection What to tune?
2722 This all tells you how to tune grobs, but what variables are there? The
2723 question is not answered in this manual (although you may encounter
2726 Grob properties are tied directly to the implementation of LilyPond, and
2727 they are thus a moving target. Documentation of such variables are part
2728 of the generated documentation: this documentation is generated from the
2729 sourcecode of lily for each version, so it is usually mch more up to
2730 date than this manual. It should be available from the same place where
2731 you got this manual.
2733 To decide how to tune a grob, you need to find the following information
2736 which grob to modify
2738 which property to modify
2740 which context the grob comes from.
2743 Included with the automatically generated documentation is a master list
2744 of grobs. Each one can be clicked, taking you to a overview of the
2745 available properties.
2747 There is also a master list of contexts. Clicking each takes you to an
2748 overview of the context, listing which grob types are created there.
2751 @node Font selection
2752 @subsection Font selection
2754 Most graphics in LilyPond are composed of characters of fonts. You can
2755 alter the characteristics of the font by setting certain grob
2756 properties. The mechanism that is used for this resembles LaTeX's New
2757 Font Selection Scheme. Within this scheme, a font is entirely
2758 characterized by its font name.
2760 For each grob that uses fonts (in other words, each grob that supports
2761 @code{font-interface}) a font-name must be selected before it can be
2762 printed. The font name is selected by looking at a number of grob
2767 The general class of the typeface. Supported are roman (Computer
2768 Modern), braces (for piano staff braces), music (the standard music
2769 font), dynamic (font for dynamic signs) and typewriter
2772 A symbol indicating the shape of the font, a finer gradation than
2773 font-family. Choices are italic and upright
2775 Symbol indicating the serie of the font. Series form a finer gradation
2776 than font-shape. Choices are medium and bold.
2778 @item font-relative-size
2779 A number indicating the size relative the standard size. For example,
2780 with 20pt staff height, relative size -1 corresponds to 16pt staff
2781 height, and relative size +1 corresponds to 23 pt staff height.
2783 @item font-design-size
2784 A number indicating the design size of the font.
2786 This is a feature of the Computer Modern Font: each point size has a
2787 slightly different design. Smaller design sizes are relatively wider,
2788 which enhances readability. Scalable type faces such TrueType and Adobe
2789 Type1 usually come as ``one design fits all sizes''.
2792 The name of the font, without the design size, eg. @code{cmr},
2793 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2798 The font is selected by taking the first font that satisfies all
2799 qualifiers specified. You can override any of these fields through
2800 @code{\override} and @code{\revert}. The special value @code{*} matches
2801 any value for that qualifier.
2804 \property Lyrics.LyricText \override #'font-series = #'bold
2805 \property Lyrics.LyricText \override #'font-shape = #'*
2808 @cindex @code{font-style}
2810 There are also pre-cooked font selection qualifiers. These are selected
2811 through the grob property @code{font-style}. For example, the style
2812 @code{finger} selects family @code{number} and relative size @code{-3}.
2813 Styles available include: volta, finger, tuplet, timesig, mmrest,
2814 script, large, Large and dynamic.
2816 The style sheets and tables for selecting fonts are located in
2817 @file{scm/font.scm}. Refer to this file for more information.
2821 Relative size is not linked to any real size. There is no mechanism to
2822 select magnifications of fonts, meaning that you can not scale fonts
2823 continuoussly. There is no style sheet provided for other fonts besides
2826 @cindex font selection
2827 @cindex font magnification
2828 @cindex @code{font-interface}
2834 @subsection Text markup
2838 LilyPond has an internal mechanism to typeset texts. You can
2839 form text markup expressions by composing scheme expressions
2840 in the following way.
2842 @lilypond[verbatim, singleline]
2847 c^#'(italic "italic")
2848 d_#'((bold italic) "ff")
2850 f_#'(lines "one" (bold "two"))
2851 g^#'(music "noteheads-2" "flags-u3")
2855 Normally, the Scheme markup text is stored in the @code{text} property
2856 of a grob. Formally, it is defined as follows:
2859 text: string | (head? text+)
2860 head: markup | (markup+)
2861 markup-item: property | abbrev
2862 property: (@var{key} . @var{value})
2863 abbrev: @code{rows lines roman music bold italic named super sub text}
2864 @code{finger volta timesig mmrest mark script large Large dynamic}
2867 The markup is broken down and converted into a list of grob properties,
2868 which are prepended to the property list. The @var{key}-@var{value}
2869 pair is a grob property.
2871 The following abbreviations are currently defined:
2875 horizontal mode: set all text on one line (default)
2877 vertical mode: set every text on new line
2887 lookup by character name
2889 plain text lookup (by character value)
2895 select fingering number fontstyle
2897 select volta number fontstyle
2899 select time signature number fontstyle
2901 select multi measure rest number fontstyle
2903 select mark number fontstyle
2905 select scriptsize roman fontstyle
2907 select large roman fontstyle
2909 select Large roman fontstyle
2911 select dynamics fontstyle
2914 It is possible to use @TeX{} commands in the strings, but this should be
2915 avoided because this makes it impossible for LilyPond to compute the
2916 exact length of the string, which may lead to collisions. Also, @TeX{}
2917 commands won't work with direct postscript output.
2921 @section Page layout
2935 @subsection Paper block
2938 The most important output definition is the @code{\paper} block, for
2939 music notation. The syntax is
2942 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2945 where each of the items is one of
2948 @item An assignment. The assignment must be terminated by a
2951 @item A context definition. See @ref{Notation Contexts} for
2952 more information on context definitions.
2954 @item \stylesheet declaration. Its syntax is
2956 \stylesheet @var{alist}
2959 See @file{scm/font.scm} for details of @var{alist}.
2960 @item an \elementdescriptions declaration.
2962 \elementdescriptions @var{alist}
2964 See @file{scm/grob-description.scm} for details of @var{alist}.
2968 @c . {Paper variables}
2969 @node Paper variables
2970 @subsection Paper variables
2971 @cindex Paper variables
2973 The paper block has some variables you may want to use or change:
2976 @cindex @code{indent}
2978 The indentation of the first line of music.
2979 @cindex @code{staffspace}
2981 @item @code{staffspace}
2982 The distance between two staff lines, calculated from the center
2983 of the lines. If you want scale independent output, then you should
2984 use either this or @code{stafflinethickness}
2985 as a unit for distances you modify.
2987 @cindex @code{linewidth}
2988 @item @code{linewidth}
2989 Sets the width of the lines.
2991 If set to a negative value, a single unjustified line is produced.
2992 @c rename to singleLinePaper ?
2993 The shorthand @code{\singleLine} defines a default paper block that
2994 produces a single line.
2996 @cindex @code{textheight}
2998 @item @code{textheight}
2999 Sets the total height of the music on each page. Only used by
3002 @cindex @code{interscoreline}
3004 @item @code{interscoreline}
3005 Sets the spacing between systems.
3007 @cindex @code{interscorelinefill}
3011 @item @code{interscorelinefill}
3012 If set to a positive number, the distance between the score
3013 lines will stretch in order to fill the full page. In that
3014 case @code{interscoreline} specifies the minimum spacing.
3019 @cindex @code{stafflinethickness}
3021 @item @code{stafflinethickness}
3022 Determines the thickness of staff lines, and also acts as a scaling
3023 parameter for other line thicknesses.
3030 @subsection Font size
3033 The Feta font provides musical symbols at six different sizes. These
3034 fonts are 11 point, 13 point, 16 point, 20 point,
3035 23 point, and 26 point. The point size of a font is the
3036 height of the five lines in a staff when displayed in the font.
3038 Definitions for these sizes are the files @file{paperSZ.ly}, where
3039 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3040 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3041 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3042 @code{paperTwentysix} are defined respectively. The default
3043 @code{\paper} block is also set.
3045 The font definitions are generated using a Scheme function. For more
3046 details, see the file @file{font.scm}.
3052 @subsection Paper size
3057 @cindex @code{papersize}
3059 To change the paper size, you must first set the
3060 @code{papersize} variable at top level. Set it to
3061 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3062 specification, you must set the font as described above. If you want
3063 the default font, then use the 20 point font. The new paper size will
3064 not take effect if the font is not loaded and selected afterwards.
3068 \include "paper16.ly"
3072 \paper @{ \paperSixteen @}
3076 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3077 will set the paper variables @code{hsize} and @code{vsize} (used by
3088 @subsection Line break
3091 @cindex breaking lines
3093 Line breaks are normally computed automatically. They are chosen such
3094 that the resulting spacing has low variation, and looks neither cramped
3097 Occasionally you might want to override the automatic breaks; you can do
3098 this by specifying @code{\break}. This will force a line break at this
3099 point. Do remember that line breaks can only occur at places where there
3100 are barlines. If you want to have a line break where there is no
3101 barline, you can force an invisible barline by entering @code{\bar "";}.
3103 Similarly, @code{\noBreak} forbids a line break at a certain point.
3105 @cindex @code{\penalty}
3107 The @code{\break} and @code{\noBreak} commands are defined in terms of
3108 the penalty command:
3110 \penalty @var{int} @code{;}
3113 This encourages or discourages LilyPond to make a line break at this
3118 The scaling of the @code{\penalty} argument is not well-defined. The
3119 command is rather kludgy, and slated for rewriting.
3123 @subsection Page break
3126 @cindex breaking pages
3129 Page breaks are normally computed by @TeX{}, so they are not under
3130 direct control of LilyPond. However, you can insert a commands into the
3131 @file{.tex} output to instruct @TeX{} where to break pages. For more
3132 details, see the example file @file{input/test/between-systems.ly}
3143 LilyPond can produce MIDI output. The performance lacks lots of
3144 interesting effects, such as swing, articulation, slurring, tieing,
3145 etc., but it is good enough for proof-hearing the music you enter.
3147 Dynamics and tempo changes are interpreted.
3149 [TODO: mention volume control/Instrument Equaliser]
3154 It is currently not possible to use the percussion channel (generally
3155 channel 10 of a MIDI file).
3159 * MIDI instrument names::
3164 @subsection MIDI block
3168 The MIDI block is analogous to the paper block, but it is somewhat
3169 simpler. The @code{\midi} block can contain:
3173 @item a @code{\tempo} definition
3174 @item context definitions
3177 Assignments in the @code{\midi} block are not allowed.
3181 @cindex context definition
3183 Context definitions follow precisely the same syntax as within the
3184 \paper block. Translation modules for sound are called performers.
3185 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3188 @node MIDI instrument names
3189 @subsection MIDI instrument names
3191 @cindex instrument names
3192 @cindex @code{Staff.midiInstrument}
3193 @cindex @code{Staff.instrument}
3195 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3196 property or, if that property is not set, the @code{Staff.instrument}
3197 property. The instrument name should be chosen from the list in
3198 @ref{MIDI instruments}.
3202 If the selected string does not exactly match, then LilyPond uses the
3203 default piano. It is not possible to select an instrument by number.
3215 @section Music entry
3223 One of the applications of LilyPond is to enter music from existing
3224 written or printed material. When you're doing this kind of copying
3225 work, you can easily make mistakes. This section deals with tricks and
3226 features that help you enter music, and find and correct mistakes.
3230 @subsection Relative
3232 @cindex relative octave specification
3234 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3235 When you copy existing music, it is easy to accidentally put a pitch in
3236 the wrong octave and hard to find such an error. To prevent these
3237 errors, LilyPond features octave entry.
3239 @cindex @code{\relative}
3241 \relative @var{startpitch} @var{musicexpr}
3244 The octave of notes that appear in @var{musicexpr} are calculated as
3245 follows: If no octave changing marks are used, the basic interval
3246 between this and the last note is always taken to be a fourth or less.
3247 The octave changing marks @code{'} and @code{,} can then
3248 be added to raise or lower the pitch by an extra octave. Upon entering
3249 relative mode, an absolute starting pitch must be specified that will
3250 act as the predecessor of the first note of @var{musicexpr}.
3252 This distance is determined without regarding accidentals: a
3253 @code{fisis} following a @code{ceses} will be put above the
3256 Entering music that changes octave frequently is easy in relative mode.
3257 @lilypond[fragment,singleline,verbatim,center]
3263 And octave changing marks are used for intervals greater than a fourth.
3264 @lilypond[fragment,verbatim,center]
3266 c g c f, c' a, e'' }
3269 If the preceding item is a chord, the first note of the chord is used
3270 to determine the first note of the next chord. But other notes
3271 within the second chord are determined by looking at the immediately
3274 @lilypond[fragment,verbatim,center]
3281 @cindex @code{\notes}
3283 The pitch after the @code{\relative} contains a notename. To parse
3284 the pitch as a notename, you have to be in note mode, so there must
3285 be a surrounding @code{\notes} keyword (which is not
3288 The relative conversion will not affect @code{\transpose},
3289 @code{\chords} or @code{\relative} sections in its argument. If you
3290 want to use relative within transposed music, you must place an
3291 additional @code{\relative} inside the @code{\transpose}.
3296 @subsection Bar check
3300 @cindex @code{barCheckNoSynchronize}
3304 Whenever a bar check is encountered during interpretation, a warning
3305 message is issued if it doesn't fall at a measure boundary. This can
3306 help you find errors in the input. Depending on the value of
3307 @code{barCheckNoSynchronize}, the beginning of the measure will be
3308 relocated, so this can also be used to shorten measures.
3310 A bar check is entered using the bar symbol, @code{|}
3314 @c . {Point and click}
3315 @node Point and click
3316 @subsection Point and click
3318 Point and click lets you find notes in the input by clicking on them in
3319 the Xdvi window. This makes it very easy to find input that causes some
3320 error in the sheet music.
3322 To use it, you need the following software
3326 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3327 Xdvi} version 22.36 or newer.
3329 Note that most @TeX{} distributions ship with xdvik, which is a
3330 different and less well maintained program. To find out which xdvi you
3331 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3336 Add one these lines to the top of your .ly file. The first one is for
3337 line location only. The second one is more convenient, but requires
3338 patching @code{emacsclient}.
3341 #(set! point-and-click line-location)
3342 #(set! point-and-click line-column-location)
3345 In the emacs startup file (usually @file{~/.emacs}), add the following
3350 If you want emacs to jump to the exact spot (and not just the line) on a
3351 click, you must enable column positioning. To do so, you need to patch
3352 emacsclient. Apply @file{emacsclient.patch} (included with the source
3353 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3354 source code. Recompile and stick the recompiled emacsclient into a bin
3355 directory, and put @file{server.el} into a elisp directory
3356 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3357 init file, before invoking server-start.
3360 (setq load-path (cons "~/usr/share/emacs" load-path))
3364 Xdvi must be configured to use the emacs editor. Before starting, set
3365 the environment variable @code{XEDITOR} to
3367 emacsclient --no-wait +%c:%l %f
3369 Xdvi also must be configured to find the fonts. Refer to the
3370 xdvi documentation for more information.
3372 When viewing, control-mousebutton 1 will take you to the originating
3373 line and column. Control-mousebutton 2 will show all clickable boxes.
3377 When you convert the TeX file to PostScript using dvips, dvips
3378 will complain about not finding @code{src:X:Y} files. Those complaints are
3379 harmless, and can be ignored.
3382 @c . {Using LilyPond}
3383 @node Using LilyPond
3384 @section Using LilyPond
3385 @cindex Using LilyPond
3386 @cindex Generating output
3388 @c slaat dit ergens op?
3390 @c direct postscript?
3393 @item plain lilypond
3397 For more information on how to use lilypond see
3399 @ref{Invoking LilyPond}.
3406 Ly2dvi produces titling from @code{\header} fields.
3410 For more information on how to use ly2dvi see
3419 Lilypond-book supports interleaving text and music.
3421 lilypond-book foo.doc
3423 For more information on how to use lilypond-book see
3425 @ref{lilypond-book}.
3433 An emacs mode for LilyPond is included with the source archive as
3434 @file{lilypond-mode.el} and @file{lilypond-font-lock.el}. If you have
3435 an RPM, it is in @file{/usr/share/doc/lilypond-X/}. You have to install
3438 Add this to your ~/.emacs or ~/.emacs.el:
3440 (load-library "lilypond-mode.el")
3441 (setq auto-mode-alist
3442 (cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
3443 (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
3446 If you have the latest LilyPond-1.3.x Debian package, LilyPond-mode
3447 is automatically loaded, so you need not modify your ~/.emacs file.
3450 * Pre-cooked makefile::
3453 @node Pre-cooked makefile
3454 @subsection Pre-cooked makefile
3456 @c waar deze info? is uiteindelijk wel handig, schat ik.
3458 If you have a big music project, or just a lot of LilyPond input files,
3459 all generated output from LilyPond, @TeX{} and metafont will clutter
3460 your working directory. LilyPond comes with a one-size-fits-all
3461 pre-cooked makefile that helps you manage producing ouptut. It will
3462 produce all output in @file{out}, generate and track dependencies.
3463 Also, it helps in preparing your submission to the @ref{Mutopia
3470 cp /usr/share/lilypond/make/ly.make GNUmakefile
3471 cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
3474 Generated out/menuet.ps for target menuet.
3477 Type @samp{make help} to see possible targets.
3480 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
3483 @node Interpretation context
3484 @section Interpretation context
3487 * Notation Contexts::
3488 * Creating contexts::
3489 * Default contexts::
3490 * Context properties::
3491 * Changing context definitions::
3492 * Defining new contexts::
3496 @c . {Notation Contexts}
3497 @node Notation Contexts
3498 @subsection Notation Contexts
3500 @cindex notation contexts
3502 Notation contexts are objects that only exist during a run of LilyPond.
3503 During the interpretation phase of LilyPond (when it prints
3504 "interpreting music"), the music expresiion in a @code{\score} block is
3505 interpreted in time order. This is the same order that humans hear and
3508 During this interpretation, the notation context is holds the state for
3509 the current point within the music. It contains information like
3512 @item What notes are playing at this point?
3513 @item What symbols will be printed at this point?
3514 @item What is the current key signature, time signature, point within
3518 Contexts are grouped hierarchically: A @code{Voice} context is
3519 contained in a @code{Staff} context (because a staff can contain
3520 multiple voices at any point), a @code{Staff} context is contained in
3521 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3522 these can all contain multiple staffs).
3525 Contexts associated with sheet music output are called @emph{notation
3526 contexts}, those for sound output are called performance contexts.
3529 @node Creating contexts
3530 @subsection Creating contexts
3532 @cindex @code{\context}
3533 @cindex context selection
3535 Contexts for a music expression can be selected manually, using the
3536 following music expression.
3539 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3542 This instructs lilypond to interpret @var{musicexpr} within the context
3543 of type @var{contexttype} and with name @var{contextname}. If this
3544 context does not exist, it will be created.
3548 @lilypond[verbatim,singleline]
3550 \notes \relative c'' {
3551 c4 <d4 \context Staff = "another" e4> f
3558 In this example, the @code{c} and @code{d} are printed on the
3559 default staff. For the @code{e}, a context Staff called
3560 @code{another} is specified; since that does not exist, a new
3561 context is created. Within @code{another}, a (default) Voice context
3562 is created for the @code{e4}. When all music referring to a
3563 context is finished, the context is ended as well. So after the
3564 third quarter, @code{another} is removed.
3568 @node Default contexts
3569 @subsection Default contexts
3571 Most music expressions don't need @code{\context}: they inherit the
3572 notation context from their parent. Each note is a music expression, and
3573 as you can see in the following example, only the sequential music
3574 enclosing the three notes has an explicit context.
3576 @lilypond[verbatim,singleline]
3577 \score { \notes \context Voice = goUp { c'4 d' e' } }
3580 There are some quirks that you must keep in mind when dealing with
3583 First, every top-level music is interpreted by the Score context, in other
3584 words, you may think of @code{\score} working like
3587 \context Score @var{music}
3591 Second, sequential music follows the contexts of its
3592 ``children''. Consider the following example.
3594 @lilypond[verbatim, singleline]
3595 \score { \context Score \notes { c'4 ( d' )e' } }
3598 The sequential music is interpreted by the Score context initially
3599 (notice that the @code{\context} specification is redundant), but when a
3600 note is encountered, contexts are setup to accept that note. In this
3601 case, a Thread, Voice and Staff are created. The rest of the sequential
3602 music is also interpreted with the same Thread, Voice and Staff context,
3603 putting the notes on the same staff, in the same voice.
3605 This is a convenient mechanism, but do not expect opening chords to work
3606 without @code{\context}. For every note, a separate staff is
3609 @lilypond[verbatim, singleline]
3610 \score { \notes <c'4 es'> }
3613 Of course, if the chord is preceded by a normal note in sequential
3614 music, the chord will be interpreted by the Thread of the preceding
3616 @lilypond[verbatim,singleline]
3617 \score { \notes { c'4 <c'4 es'> } }
3622 @node Context properties
3623 @subsection Context properties
3625 Notation contexts can be modified from within the @file{.ly} file. The
3626 following music expression does that job:
3628 @cindex @code{\property}
3630 \property @var{contextname}.@var{propname} = @var{value}
3633 Sets the @var{propname} property of the context @var{contextname} to the
3634 specified Scheme expression @var{value}. All @var{propname} and
3635 @var{contextname} are strings, which are typically unquoted.
3637 Properties that are set in one context are inherited by all of the
3638 contained contexts. This means that a property valid for the
3639 @code{Voice} context can be set in the @code{Score} context (for
3640 example) and thus take effect in all @code{Voice} contexts.
3642 Properties can be unset using the following expression:
3644 \property @var{contextname}.@var{propname} \unset
3647 This removes the definition of @var{propname} in @var{contextname}. If
3648 @var{propname} was not defined in @var{contextname} (but was inherited
3649 from a higher context), then this has no effect.
3654 @code{\property \unset} is not the inverse of @code{\property \set}
3659 @c . {Context definitions}
3660 @node Changing context definitions
3661 @subsection Changing context definitions
3663 @cindex context definition
3664 @cindex translator definition
3666 The most common way to define a context is by extending an existing
3667 context. You can change an existing context from the paper block, by
3668 first initializing a translator with an existing context identifier:
3672 @var{context-identifier}
3675 Then you can add engravers, remove engravers.
3676 The syntax for these operations are respectively
3678 \remove @var{engravername}
3679 \consists @var{engravername}
3683 Here @var{engravername} is a string, the name of an engraver in the
3686 @var{propname} = @var{value}
3690 @lilypond[verbatim,singleline]
3694 \translator { \StaffContext
3695 \remove Clef_engraver;
3701 You can also set properties in a translator definition. The syntax is as
3704 @var{propname} is a string and @var{value} is a Scheme
3707 @var{propname} = @var{value}
3708 @var{propname} \set @var{symbol} = @var{value}
3709 @var{propname} \override @var{symbol} = @var{value}
3710 @var{propname} \revert @var{symbol}
3714 These type of property assignments happen before interpretation starts,
3715 so a @code{\property} expression will override any predefined settings.
3718 To simplify editing translators, all standard contexts have standard
3719 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3720 @code{VoiceContext}.
3722 @node Defining new contexts
3723 @subsection Defining new contexts
3725 If you want to build a context from scratch, you must also supply the
3726 following extra information:
3728 @item A name, specified by @code{\name @var{contextname};}.
3730 @item A cooperation module. This is specified by @code{\type
3737 \type "Engraver_group_engraver";
3738 \name "SimpleStaff";
3740 \consists "Staff_symbol_engraver";
3741 \consists "Note_head_engraver";
3742 \consistsend "Axis_group_engraver";
3746 Basic building blocks of translation are called engravers; they are
3747 special C++ classes.
3749 The argument of @code{\type} is the name for a special engraver that
3750 handles cooperation between simple engravers such as
3751 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3752 for this engraver are the following:
3754 @cindex @code{Engraver_group_engraver}
3755 @item @code{Engraver_group_engraver}
3756 The standard cooperation engraver.
3758 @cindex @code{Score_engraver}
3760 @item @code{Score_engraver}
3761 This is cooperation module that should be in the top level context,
3762 and only the toplevel context.
3764 @cindex @code{Grace_engraver_group}
3766 @item @code{Grace_engraver_group}
3767 This is a special cooperation module (resembling
3768 @code{Score_engraver}) that is used to created an embedded
3775 @item @code{\alias} @var{alternate-name} @code{;}
3776 This specifies a different name. In the above example,
3777 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3779 @item @code{\consistsend} @var{engravername} @code{;}
3780 Analogous to @code{\consists}, but makes sure that
3781 @var{engravername} is always added to the end of the list of
3784 Some engraver types need to be at the end of the list; this
3785 insures they are put there, and stay there, if a user adds or
3786 removes engravers. This command is usually not needed for
3789 @item @code{\accepts} @var{contextname} @code{;}
3790 Add @var{contextname} to the list of context this context can
3791 contain. The first listed context is the context to create by
3794 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3795 completeness, but is never used in practice.
3798 @item @code{\name} @var{contextname} @code{;}
3799 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3800 the name is not specified, the translator won't do anything.
3803 In the @code{\paper} block, it is also possible to define translator
3804 identifiers. Like other block identifiers, the identifier can only
3805 be used as the very first item of a translator. In order to define
3806 such an identifier outside of @code{\score}, you must do
3812 foo = \translator @{ @dots{} @}
3819 \translator @{ \foo @dots{} @}
3827 @cindex paper types, engravers, and pre-defined translators
3834 @c . {Syntactic details}
3835 @node Syntactic details
3836 @section Syntactic details
3837 @cindex Syntactic details
3839 This section describes details that were too boring to be put elsewhere.
3844 * Music expressions::
3845 * Manipulating music expressions::
3853 @subsection Top level
3856 This section describes what you may enter at top level.
3860 @subsubsection Score
3863 @cindex score definition
3865 The output is generated combining a music expression with an output
3866 definition. A score block has the following syntax:
3869 \score @{ @var{musicexpr} @var{outputdefs} @}
3872 @var{outputdefs} are zero or more output definitions. If none is
3873 supplied, the default @code{\paper} block will be added.
3877 @c . {Default output}
3878 @subsubsection Default output
3880 Default values for the @code{\paper} and @code{\midi} block are set by
3881 entering such a block at top-level.
3884 @subsubsection Header
3886 @cindex @code{\header}
3889 A header describes bibilographic information of the file's contents. It
3890 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3891 use this information for generating titles. Key values that are used by
3892 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3893 metre, arranger, piece and tagline.
3895 @cindex @code{ly2dvi}
3899 \header @{ @var{key1} = @var{val1};
3900 @var{key2} = @var{val2}; @dots{} @}
3903 It is customary to put the @code{\header} at the top of the file.
3905 @subsubsection Default output
3907 A @code{\midi} or @code{\paper} block at top-level sets the default
3909 paper block for all scores that lack an explicit paper block.
3913 @subsection Identifiers
3916 All of the information in a LilyPond input file, is represented as a
3917 Scheme value. In addition to normal Scheme data types (such as pair,
3918 number, boolean, etc.), LilyPond has a number of specialized data types,
3925 @item Translator_def
3929 @item Music_output_def
3930 @item Moment (rational number)
3933 LilyPond also includes some transient object types. Objects of these
3934 types are built during a LilyPond run, and do not `exist' per se within
3935 your input file. These objects are created as a result of your input
3936 file, so you can include commands in the input to manipulate them,
3937 during a lilypond run.
3940 @item Grob: short for Graphical object. See @ref{Grobs}.
3941 @item Molecule: device-independent page output object,
3942 including dimensions. Produced by some Grob functions
3944 @item Translator: object that produces audio objects or Grobs. This is
3945 not yet user accessible.
3946 @item Font_metric: object representing a font. (See @ref{Font metrics})
3951 @node Music expressions
3952 @subsection Music expressions
3954 @cindex music expressions
3956 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3957 syllables are music expressions, and you can combine music expressions
3958 to form new ones, for example by enclosing a list of expressions in
3959 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3960 compound expression is formed out of the quarter note @code{c} and a
3961 quarter note @code{d}:
3964 \sequential @{ c4 d4 @}
3967 @cindex Sequential music
3968 @cindex @code{\sequential}
3969 @cindex sequential music
3972 @cindex Simultaneous music
3973 @cindex @code{\simultaneous}
3975 The two basic compound music expressions are simultaneous and
3979 \sequential @code{@{} @var{musicexprlist} @code{@}}
3980 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3982 For both, there is a shorthand:
3984 @code{@{} @var{musicexprlist} @code{@}}
3988 @code{<} @var{musicexprlist} @code{>}
3990 for simultaneous music.
3991 In principle, the way in which you nest sequential and simultaneous to
3992 produce music is not relevant. In the following example, three chords
3993 are expressed in two different ways:
3995 @lilypond[fragment,verbatim,center]
3996 \notes \context Voice {
3997 <a c'> <b d' > <c' e'>
3998 < { a b c' } { c' d' e' } >
4003 Other compound music expressions include
4006 \transpose @var{pitch} @var{expr}
4007 \apply @var{func} @var{expr}
4008 \context @var{type} = @var{id} @var{expr}
4009 \times @var{fraction} @var{expr}
4013 @c . {Manipulating music expressions}
4014 @node Manipulating music expressions
4015 @subsection Manipulating music expressions
4017 The @code{\apply} mechanism gives you access to the internal
4018 representation of music. You can write Scheme-functions that operate
4019 directly on it. The syntax is
4021 \apply #@var{func} @var{music}
4023 This means that @var{func} is applied to @var{music}. The function
4024 @var{func} should return a music expression.
4026 This example replaces the text string of a script. It also shows a dump
4027 of the music it processes, which is useful if you want to know more
4028 about how music is stored.
4030 #(define (testfunc x)
4031 (if (equal? (ly-get-mus-property x 'text) "foo")
4032 (ly-set-mus-property x 'text "bar"))
4034 (ly-set-mus-property x 'elements
4035 (map testfunc (ly-get-mus-property x 'elements)))
4040 \apply #testfunc { c4_"foo" }
4044 For more information on what is possible, see the @ref{Tricks} and the
4045 automatically generated documentation.
4048 Directly accessing internal representations is dangerous: the
4049 implementation is subject to changes, so you should avoid this feature
4054 @c . {Span requests}
4060 @subsubsection Span requests
4061 @cindex Span requests
4063 Notational constructs that start and end on different notes can be
4064 entered using span requests. The syntax is as follows:
4068 \spanrequest @var{startstop} @var{type}
4072 @cindex @code{\start}
4073 @cindex @code{\stop}
4075 This defines a spanning request. The @var{startstop} parameter is either
4076 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4077 describes what should be started. Much of the syntactic sugar is a
4078 shorthand for @code{\spanrequest}, for example,
4080 @lilypond[fragment,verbatim,center]
4081 c'4-\spanrequest \start "slur"
4082 c'4-\spanrequest \stop "slur"
4085 Among the supported types are @code{crescendo}, @code{decrescendo},
4086 @code{beam}, @code{slur}. This is an internal command. Users are
4087 encouraged to use the shorthands which are defined in the initialization
4088 file @file{spanners.ly}.
4093 @subsection Assignments
4096 Identifiers allow objects to be assigned to names during the parse
4097 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4098 and to refer to an identifier, you preceed its name with a backslash:
4099 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4100 the input-types listed above. Identifier assignments can appear at top
4101 level in the LilyPond file, but also in @code{\paper} blocks.
4103 Semicolons are forbidden after top level assignments, but mandatory in
4104 other places. The rules about semicolons and assignments are very
4105 confusing, but when LilyPond input evolves more towards Scheme, we hope
4106 that this problem will grow smaller.
4108 An identifier can be created with any string for its name, but you will
4109 only be able to refer to identifiers whose names begin with a letter,
4110 being entirely alphabetical. It is impossible to refer to an identifier
4111 whose name is the same as the name of a keyword.
4113 The right hand side of an identifier assignment is parsed completely
4114 before the assignment is done, so it is allowed to redefine an
4115 identifier in terms of its old value, e.g.
4121 When an identifier is referenced, the information it points to is
4122 copied. For this reason, an identifier reference must always be the
4123 first item in a block.
4127 \paperIdent % wrong and invalid
4131 \paperIdent % correct
4136 @c . {Lexical modes}
4138 @subsection Lexical modes
4139 @cindex Lexical modes
4142 @cindex @code{\notes}
4143 @cindex @code{\chords}
4144 @cindex @code{\lyrics}
4146 To simplify entering notes, lyrics, and chords, LilyPond has three
4147 special input modes on top of the default mode: note, lyrics and chords
4148 mode. These input modes change the way that normal, unquoted words are
4149 interpreted: for example, the word @code{cis} may be interpreted as a
4150 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4153 A mode switch is entered as a compound music expressions
4155 @code{\notes} @var{musicexpr}
4156 @code{\chords} @var{musicexpr}
4157 @code{\lyrics} @var{musicexpr}.
4160 In each of these cases, these expressions do not add anything to the
4161 meaning of their arguments. They are just a way to indicate that the
4162 arguments should be parsed in indicated mode. The modes are treated in
4163 more detail in the @ref{Note entry}, @ref{Lyrics} and
4166 You may nest different input modes.
4170 @subsection Ambiguities
4175 The grammar contains a number of ambiguities. We hope to resolve them at
4179 @item The assignment
4185 can be interpreted as making a string identifier @code{\foo}
4186 containing @code{"bar"}, or a music identifier @code{\foo}
4187 containing the syllable `bar'.
4189 @item The assignment
4195 can be interpreted as making an integer identifier
4196 containing -6, or a Request identifier containing the
4197 fingering `6' (with neutral direction).
4199 @item If you do a nested repeat like
4211 then it is ambiguous to which @code{\repeat} the
4212 @code{\alternative} belongs. This is the classic if-then-else
4213 dilemma. It may be solved by using braces.
4215 @item (an as yet unidentified ambiguity :-)
4219 @c . {Lexical details}
4220 @node Lexical details
4221 @section Lexical details
4223 Even more boring details, now on lexical side of the input parser.
4234 * Version information::
4239 @subsection Comments
4242 @cindex block comment
4243 @cindex line comment
4247 A one line comment is introduced by a @code{%} character.
4248 Block comments are started by @code{%@{} and ended by @code{%@}}.
4249 They cannot be nested.
4252 @subsection Direct Scheme
4256 @cindex Scheme, in-line code
4259 LilyPond contains a Scheme interpreter (the GUILE library) for
4260 internal use. In some places Scheme expressions also form valid syntax:
4261 whereever it is allowed,
4265 evaluates the specified Scheme code. If this is used at toplevel, then
4266 the result is discarded. Example:
4268 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4271 @code{\override} expects two Scheme expressions, so there are two Scheme
4272 expressions. The first one is a symbol (@code{foobar}), the second one
4273 an integer (namely, 3).
4275 Scheme is a full-blown programming language, and a full discussion is
4276 outside the scope of this document. Interested readers are referred to
4277 the website @uref{http://www.schemers.org/} for more information on
4282 @subsection Keywords
4286 Keywords start with a backslash, followed by a number of lower case
4287 alphabetic characters. These are all the keywords.
4290 apply arpeggio autochange spanrequest commandspanrequest
4291 simultaneous sequential accepts alternative bar breathe
4292 char chordmodifiers chords clef cm consists consistsend
4293 context denies duration dynamicscript elementdescriptions
4294 font grace header in lyrics key mark pitch
4295 time times midi mm name pitchnames notes outputproperty
4296 override set revert partial paper penalty property pt
4297 relative remove repeat addlyrics partcombine score
4298 script stylesheet skip textscript tempo translator
4303 @subsection Integers
4311 Formed from an optional minus sign followed by digits. Arithmetic
4312 operations cannot be done with integers, and integers cannot be mixed
4317 @cindex real numbers
4323 Formed from an optional minus sign and a sequence of digits followed
4324 by a @emph{required} decimal point and an optional exponent such as
4325 @code{-1.2e3}. Reals can be built up using the usual operations:
4326 `@code{+}', `@code{-}', `@code{*}', and
4327 `@code{/}', with parentheses for grouping.
4335 A real constant can be followed by one of the dimension keywords:
4336 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4337 points, inches and centimeters, respectively. This converts the number
4338 a number that is the internal representation of that dimension.
4346 Begins and ends with the @code{"} character. To include a @code{"}
4347 character in a string write @code{\"}. Various other backslash
4348 sequences have special interpretations as in the C language. A string
4349 that contains no spaces can be written without the quotes. See
4350 @ref{Lexical modes} for details on unquoted strings; their
4351 interpretation varies depending on the situation. Strings can be
4352 concatenated with the @code{+} operator.
4354 The tokenizer accepts the following commands. They have no grammatical
4355 function, hence they can appear anywhere in the input.
4359 @subsection Main input
4362 @cindex @code{\maininput}
4364 The @code{\maininput} command is used in init files to signal that the
4365 user file must be read. This command cannot be used in a user file.
4367 @node File inclusion
4368 @subsection File inclusion
4369 @cindex @code{\include}
4371 \include @var{filename}
4374 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4375 unquoted string will not work here!) or a string identifier. The full
4376 filename including the @file{.ly} extension must be given,
4379 @node Version information
4380 @subsection Version information
4381 @cindex @code{\version}
4383 \version @var{string} ;
4386 Specify the version of LilyPond that a file was written for. The
4387 argument is a version string in quotes, for example @code{"1.2.0"}.
4388 This is used to detect invalid input, and to aid
4389 @code{convert-ly} a tool that automatically upgrades input files. See
4390 See @ref{convert-ly} for more information on @code{convert-ly}.
4399 @c .{Local emacs vars}
4402 @c minor-mode: font-lock
4403 @c minor-mode: outline
4404 @c outline-layout: (-1 : 0)
4405 @c outline-use-mode-specific-leader: "@c \."
4406 @c outline-primary-bullet: "{"
4407 @c outline-stylish-prefixes: nil
4408 @c outline-override-protect: t