3 @c - Reinsert subsection commands that were lost in the
4 @c ancient conversion from YODL! /MB
5 @c - Restructure! Separate internal commands from user level commands. /MB
6 @c - Add some words about Guile. /MB
7 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
9 @node Reference Manual, , , Top
10 @chapter Reference Manual
14 * Top level:: Top level
15 * notenames:: notenames
16 * Lexical conventions:: Lexical conventions
17 * Other languages:: notelang
20 * Music expressions:: Music expressions
21 * Atomic music expressions:: Atomic music expressions
22 * Note specification:: notedesc
24 * Manual beams:: Manual beam
25 * stem tremolo:: tremolo
26 * Compound music expressions:: Compound music expressions
29 * transpose:: transpose
30 * Ambiguities:: Ambiguities
31 * Notation conversion specifics:: Notation conversion specifics
33 * lyricprint:: lyricprint
34 * Notation Contexts:: Notation Contexts
35 * Properties:: Changing formatting
36 * Notation output definitions:: Notation output definitions
38 * Paper variables:: papervars
39 * contextdefs:: contextdefs
40 * Sound output:: Sound output
42 * Pre-defined Identifiers:: Pre-defined Identifiers
43 @c May be fragile. Better make single link to generated doco?
44 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
45 * Engravers:(lilypond-internals)LilyPond engravers.
46 * Backend:(lilypond-internals)LilyPond backend.
51 @node Overview, , , Reference Manual
54 This document@footnote{This document has been revised for
55 LilyPond 1.2.} describes the the GNU LilyPond input format
57 with @emph{Lilypond}-input you can
60 @item create musical expressions by combining pitches, durations
61 @item output those musical expressions to various formats
62 @item give those musical expressions and output definitions names, so
63 you can enter them in manageable chunks.
66 @emph{Lilypond} input aims to define a piece of music completely, both from
67 typesetting and from a performance point of view.
71 @node Top level, , , Reference Manual
76 This section describes what you may enter at top level.
80 @cindex score definition
82 The output is generated combining a music expression with an output
83 definition. A score block has the following syntax:
86 \score @{ @var{musicexpr} @var{outputdefs} @}
89 @var{outputdefs} are zero or more output definitions. If no output
90 definition is supplied, the default @code{\paper} block will be added.
101 \header @{ @var{key1} = @var{val1};
102 @var{key2} = @var{val2}; @dots{} @}
105 A header describes the file's contents. It can also appear in a
106 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
107 information for generating titles. Key values that are used by
108 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
109 metre, arranger, piece and tagline.
111 It is customary to put the @code{\header} at the top of the file.
114 @node notenames, , , Reference Manual
116 Note name tables can be specified using
119 \notenames@keyindex{notenames}
120 @{ @var{assignmentlist} @}
123 @var{assignmentlist} is a list of definitions of the form
126 @var{name} = @var{pitch}
129 Chord modifiers can be set analogously, with
130 @code{\chordmodifiers}@keyindex{chordmodifiers}.
132 A @code{\paper} block at top level sets the default paper block. A
133 @code{\midi} block at top level works similarly.
137 LilyPond contains a Scheme interpreter (the GUILE library) for
138 internal use. The following commands access the interpreter
145 Evaluates the specified Scheme code. The result is discarded.
147 Identifier assignments may appear at top level. Semicolons are
148 forbidden after top level assignments.
152 @node Lexical conventions, , , Reference Manual
153 @section Lexical conventions
155 @cindex lexical conventions
164 A one line comment is introduced by a `@code{%}' character.
165 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
166 They cannot be nested.
172 Keywords start with a backslash, followed by a number of lower case
173 alphabetic characters. These are all the keywords.
236 Formed from an optional minus sign followed by digits. Arithmetic
237 operations cannot be done with integers, and integers cannot be mixed
245 Formed from an optional minus sign and a sequence of digits followed
246 by a @emph{required} decimal point and an optional exponent such as
247 @code{-1.2e3}. Reals can be built up using the usual operations:
248 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
249 `@code{/}@indexcode{/}', with parentheses for grouping.
251 A real constant can be followed by one of the dimension
254 @code{\mm}@keyindex{mm},
255 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
256 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
257 centimeters, respectively. This converts the number to a real that
258 is the internal representation of dimensions.
265 Begins and ends with the `@code{"}' character. To include a `@code{"}'
266 character in a string write `@code{\"}'. Various other backslash
267 sequences have special interpretations as in the C language. A
268 string that contains no spaces can be written without the quotes.
269 See section XREF-modes [FIXME] for details on unquoted strings; their
270 interpretation varies depending on the situation. Strings can be
271 concatenated with the `@code{+}' operator.
274 The tokenizer accepts the following commands. They can appear
278 \maininput@keyindex{maininput}
281 This command is used in init files to signal that the user file must
282 be read. This command cannot be used in a user file.
285 \include@keyindex{include} @var{file}
288 Include @var{file}. The argument @var{file} may be a quoted string (an
289 unquoted string will not work here!) or a string identifier. The full
290 filename including the @file{.ly} extension must be given,
293 \version@keyindex{version} @var{string} ;
296 Specify the version of LilyPond that a file was written for. The
297 argument is a version string in quotes, for example @code{"1.2.0"}.
298 This is used to detect invalid input, and to aid
299 @code{convert-ly}, a tool that automatically upgrades input files.
303 @cindex other languages
305 @node Other languages, , , Reference Manual
307 Note name definitions have been provided in various languages.
308 Simply include the language specific init file. For example:
309 `@code{\include "english.ly"}'. The available language files and the
310 names they define are:
313 Note Names sharp flat
314 nederlands.ly c d e f g a bes b -is -es
315 english.ly c d e f g a bf b -s/-sharp -f/-flat
316 deutsch.ly c d e f g a b h -is -es
317 norsk.ly c d e f g a b h -iss/-is -ess/-es
318 svenska.ly c d e f g a b h -iss -ess
319 italiano.ly do re mi fa sol la sib si -d -b
320 catalan.ly do re mi fa sol la sib si -d/-s -b
323 Pitch names can be redefined using the
324 @code{\notenames}@keyindex{notenames} command, see
325 subsection XREF-notenames [FIXME].
329 @cindex lexical modes
333 @node modes, , , Reference Manual
335 To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
336 special input modes on top of the default mode. In each mode, words
337 are identified on the input. If @code{"word"} is encountered, it is
338 treated as a string. If @code{\word} is encountered, it is treated as
339 a keyword or as an identifier. The behavior of the modes differs in
340 two ways: Different modes treat unquoted words differently, and
341 different modes have different rules for deciding what is a word.
347 At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
348 mode, a word is an alphabetic character followed by alphanumeric
349 characters. If @code{word} is encountered on the input it is
355 Note mode is introduced by the keyword
356 @code{\notes}@keyindex{notes}. In Note mode, words can only
357 contain alphabetic characters. If @code{word} is encountered,
358 LilyPond first checks for a notename of @code{word}. If no
359 notename is found, then @code{word} is treated as a string.
361 Since combinations of numbers and dots are used for indicating
362 durations, it is not possible to enter real numbers in this mode.
367 Chord mode is introduced by the keyword
368 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
369 words are also looked up in a chord modifier table (containing
370 @code{maj}, @code{dim}, etc).
372 Since combinations of numbers and dots are used for indicating
373 durations, you can not enter real numbers in this mode. Dashes
374 and carets are used to indicate chord additions and subtractions,
375 so scripts can not be entered in Chord mode.
380 Lyrics mode is introduced by the keyword
381 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
382 easy to include punctuation and diacritical marks in words. A
383 word in Lyrics mode begins with: an alphabetic character,
384 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
385 control characters @code{^A} through @code{^F}, @code{^Q} through
386 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
387 over 127, or a two-character combination of a backslash followed
388 by one of `@code{`}', `@code{'}', `@code{"}', or
389 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
390 enter lyrics in @TeX{} format or a standard encoding without
391 needing quotes. The precise definition of this mode indeed is
392 ludicrous. This will remain so until the authors of LilyPond
393 acquire a deeper understanding of character encoding, or someone
394 else steps up to fix this.}
396 Subsequent characters of a word can be any character that is not
397 a digit and not white space. One important consequence of this
398 is that a word can end with `@code{@}}', which may be confusing if
399 you thought the closing brace was going to terminate Lyrics
400 mode.@footnote{LilyPond will issue a warning, though.} Any
401 `@code{_}' character which appears in an unquoted word is
402 converted to a space. This provides a mechanism for introducing
403 spaces into words without using quotes. Quoted words can also be
404 used in Lyrics mode to specify words that cannot be written with
405 the above rules. Here are some examples. Not all of these words
406 are printable by @TeX{}.
410 2B_||_!2B % not a word because it starts with a digit
411 ``Hello'' % not a word because it starts with `
412 _ _ _ _ % 4 words, each one a space
415 Since combinations of numbers and dots are used for indicating
416 durations, you can not enter real numbers in this mode.
419 It is possible to create words that break the rules by prefixing them
420 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
421 word beginning with `@code{$}' extends until the next white space
422 character. Such words can contain numbers (even in Note mode), or
423 other forbidden characters. The dollar sign can be used to create
424 and access identifiers that could not otherwise be used.@footnote{Use
425 of `@code{$}' hampers readability and portability to future LilyPond
426 versions, thus the use of the dollar sign is discouraged.}
430 @node Types, , , Reference Manual
433 @cindex types and identifiers
435 @emph{Lilypond} has a limited set of types:
441 @item music expressions
442 @item durations of notes and rests (specified with
443 @code{\notenames}@keyindex{notenames})
444 @item note name tables
445 @item context definitions, part of output definitions. See
446 section XREF-contextdefs [FIXME] for more information
447 @item output definitions (like @code{\paper}@keyindex{paper} blocks
448 and @code{\midi}@keyindex{midi} blocks)
449 @item score definitions (@code{\score}@keyindex{score} blocks)
452 Type is a syntactical property: @emph{Lilypond} has no real type system,
453 so there is no support for generic expressions, functions, or user
454 defined types. For the same reason, it is not possible to mix reals
455 and integers in arithmetic expressions, and ``type
458 (e.g., using a string identifier to
459 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
462 Identifiers allow objects to be assigned to names. To assign an
463 identifier, you use `@var{name}=@var{value}' and to refer to an
464 identifier, you preceed its name with a backslash:
465 `@code{\}@var{name}'. Identifier assignments must appear at top level
466 in the @emph{Lilypond} file. Semicolons are forbidden after assignments
467 appearing at top level but they are obligatory after assignments
468 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
470 @var{value} is any of the types listed above.
472 An identifier can be created with any string for its name, but you
473 will only be able to refer to identifiers whose names begin with a
474 letter, being entirely alphanumeric. It is impossible to refer to an
475 identifier whose name is the same as the name of a keyword.
477 The right hand side of an identifier assignment is parsed completely
478 before the assignment is done, so it is allowed to redefine an
479 identifier in terms of its old value, e.g.
485 When an identifier is referenced, the information it points to is
486 copied. Therefore it only makes sense to put identifiers for
487 translators, output definitions, and @code{\score}@keyindex{score}
488 blocks as the first item in a block. For this reason, if you
489 reference a @code{\foo} variable in a @code{\foo} block, it must be the
490 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
491 \two@}} does not make sense, because the information of @code{\two}
492 would overwrite the information of @code{\one}, thereby making the
493 reference to the first identifier useless.}
497 @node Music expressions, , , Reference Manual
498 @section Music expressions
500 @cindex music expressions
502 Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
503 lyric syllables are music expressions (the atomic
505 @cindex atomic music expressions
506 , and you can combine
507 music expressions to form new ones. This example forms a compound
508 expressions out of the quarter @code{c} note and a @code{d}
512 \sequential @{ c4 d4 @}
515 The meaning of this compound expression is to play the `@code{c}'
516 first, and then the `@code{d}' (as opposed to playing them
517 simultaneously, for instance).
519 Atomic music expression are discussed in
520 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
521 discussed in subsection XREF-compoundmusic [FIXME].
525 @node Atomic music expressions, , , Reference Manual
526 @section Atomic music expressions
536 The syntax for pitch specification is
540 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
543 @var{octave} is specified by an integer, zero for the octave
544 containing middle C. @var{note} is a number from 0 to 7, with 0
545 corresponding to C and 7 corresponding to B. The shift is zero for a
546 natural, negative to add flats, or positive to add sharps.
548 In Note and Chord mode, pitches may be designated by names. See
549 section XREF-notelang [FIXME] for pitch names in different languages.
551 The syntax for duration specification is
554 \duration@keyindex{duration}
555 @{ @var{length} @var{dotcount} @}
558 @var{length} is the negative logarithm (base 2) of the duration:
559 1 is a half note, 2 is a quarter note, 3 is an eighth
560 note, etc. The number of dots after the note is given by
563 In Note, Chord, and Lyrics mode, durations may be designated by
564 numbers and dots. See Section XREF-notelang [FIXME] for details.
567 @node Note specification, , , Reference Manual
569 @cindex note specification
573 @cindex entering notes
575 A note specification has the form
578 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
581 The pitch of the note is specified by the note's name.
584 The default names are the Dutch note names. The notes are specified
585 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
586 octave below middle C and the letters span the octave above that C.
587 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
588 `@code{-is}' to the end of a pitch name. A flat is formed by adding
589 `@code{-es}'. Double sharps and double flats are obtained by adding
590 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
591 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
594 LilyPond has predefined sets of notenames for various languages. See
595 section XREF-notelang [FIXME] for details.
598 The optional octave specification takes the form of a series of
599 single quote (`@code{'}@indexcode{'}') characters or a series of comma
600 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
601 octave; each @code{,} lowers the pitch by an octave.
603 @lilypond[fragment,verbatim,center]
604 c' d' e' f' g' a' b' c''
607 @lilypond[fragment,verbatim,center]
608 cis' dis' eis' fis' gis' ais' bis'
611 @lilypond[fragment,verbatim,center]
612 ces' des' es' fes' ges' as' bes'
615 @lilypond[fragment,verbatim,center]
616 cisis' eisis' gisis' aisis' beses'
619 @lilypond[fragment,verbatim,center]
620 ceses' eses' geses' ases' beses'
623 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
624 will determine what accidentals to typeset depending on the key and
625 context. A reminder accidental
626 @cindex reminder accidental
628 forced by adding an exclamation mark `@code{!}' after the pitch. A
629 cautionary accidental,
630 @cindex cautionary accidental
632 accidental within parentheses can be obtained by adding the question
633 mark `@code{?}@indexcode{?}' after the pitch.
635 @lilypond[fragment,verbatim,center]
636 cis' d' e' cis' c'? d' e' c'!
642 Durations are entered as their reciprocal values. For notes longer
643 than a whole note, use identifiers.
649 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
658 \notes \relative c'' {
660 a1 a2 a4 a8 a16 a32 a64 a64
665 \remove "Clef_engraver";
666 \remove "Staff_symbol_engraver";
677 r1 r2 r4 r8 r16 r32 r64 r64
686 \notes \relative c'' {
688 r1 r2 r4 r8 r16 r32 r64 r64
691 loose_column_distance = 2.5 * \staffspace;
695 \remove "Clef_engraver";
696 \remove "Staff_symbol_engraver";
697 \remove "Bar_engraver";
704 If the duration is omitted then it is set equal to the previous
705 duration. If there is no previous duration, a quarter note is
706 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
707 to obtain dotted note lengths.
709 @lilypond[fragment,verbatim,center]
713 You can alter the length of duration by writing
714 `@code{*}@var{fraction}' after it. This will not affect the
715 appearance of note heads or rests.
718 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
719 or `@code{R}@indexcode{R}'. There is also a note name
720 `@code{s}@indexcode{s}', which produces a space of the specified
721 duration. `@code{R}' is specifically meant for entering parts: the
722 @code{R} rest can expand to fill a score with rests, or it can be
723 printed as a single multimeasure rest.
725 You can control the expansion by setting the property
726 @code{Score.skipBars}. If this is set to true, Lily will not expand
727 empty measures, and the multimeasure rests automatically adds the
731 @cindex lyrics expressions
733 Syllables are entered like notes, with pitches replaced by text. For
734 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
735 with quarter note duration. Note that the hyphen has no special
736 meaning for lyrics, and does not introduce special symbols. See
737 section XREF-modes [FIXME] for a description of what is interpreted as
740 Spaces can be introduced into a lyric either by using quotes
741 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
742 not4}'. All unquoted underscores are converted to spaces. Printing
743 lyrics is discussed in section XREF-lyricprint [FIXME].
750 \property@keyindex{property}
751 @var{contextname}.@var{propname} = @var{value}
754 Sets the @var{propname} property of the context @var{contextname} to
755 the specified @var{value}. All three arguments are strings.
756 Depending on the context, it may be necessary to quote the strings or
757 to leave space on both sides of the dot.
761 @cindex translator switches
764 \translator@keyindex{translator}
765 @var{contexttype} = @var{name}
768 A music expression indicating that the context which is a direct
769 child of the a context of type @var{contexttype} should be shifted to
770 a context of type @var{contexttype} and the specified name.
772 Usually this is used to switch staffs in Piano music, e.g.
775 \translator Staff = top @var{Music}
779 @cindex output properties
782 These allow you to tweak what is happening in the back-end
783 directly. If you want to control every detail of the output
784 formatting, this is the feature to use. The downside to this is that
785 you need to know exactly how the backend works. Example:
788 @lilypond[fragment,verbatim]
790 \context Staff \outputproperty
791 #(make-type-checker 'Note_head)
792 #'extra-offset = #'(5.0 . 7.5)
796 This selects all note heads occurring at current staff level, and sets
797 the extra-offset of those heads to (5,7.5), shifting them up and
800 Use of this feature is entirely on your own risk: if you use this, the
801 result will depend very heavily on the implentation of the backend,
802 which we change unscrupulously.
809 Commands are music expressions that have no duration.
814 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
817 Change the key signature. @var{type} should be
818 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
819 @var{pitch}-major or @var{pitch}-minor, respectively. The second
820 argument is optional; the default is major keys. The @var{\context}
821 argument can also be given as an integer, which tells the number of
822 semitones that should be added to the pitch given in the subsequent
823 @code{\key}@keyindex{key} commands to get the corresponding major key,
824 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
825 mode names @code{\ionian}@keyindex{ionian},
826 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
827 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
828 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
833 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
836 Specify an arbitrary key signature. The pitches from @var{pitch} will
837 be printed in the key signature in the order that they appear on the
842 \mark@keyindex{mark} @var{unsigned};
846 Prints a mark over or under (depending on the
847 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
848 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
851 @node barlines, , , Reference Manual
854 \bar@keyindex{bar} @var{bartype};
857 This is a request to print a special bar symbol. It replaces the
858 regular bar symbol with a special
859 symbol. The argument @var{bartype} is a string which specifies the
860 kind of bar to print. Options are @code{":|"}
861 @cindex "|A@@@code{:|}
864 @cindex "|B@@@code{|:}
866 @cindex "|C@@@code{:|:}
869 @cindex "|D@@@code{||}
871 @cindex "|E@@@code{|.}
874 @cindex "|F@@@code{.|}
876 @cindex "|G@@@code{.|.}
878 These produce, respectively, a right repeat, a left repeat, a double
879 repeat, a double bar, a start bar, an end bar, and a thick double
880 bar. If @var{bartype} is set to @code{"empty"} then nothing is
881 printed, but a line break is allowed at that spot.
883 You are encouraged to use @code{\repeat} for repetitions.
884 See section XREF-sec-repeats [FIXME].
891 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
894 Change the time signature. The default time signature is 4/4.
895 The time signature is used to generate bar lines.
899 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
902 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
903 requests output with 76 quarter notes per minute.
907 \partial@keyindex{partial} @var{duration} @code{;}
914 This creates an incomplete measure (anacrusis, upbeat) at the start of
915 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
916 lasting two eighth notes.
920 @code{|}@indexcode{|}
925 @cindex shorten measures
929 `@code{|}' is a bar check. Whenever a bar check is encountered during
930 interpretation, a warning message is issued if it doesn't fall at a
931 measure boundary. This can help you finding errors in the input.
932 The beginning of the measure will be relocated, so this can also
933 be used to shorten measures.
938 \penalty@keyindex{penalty} @var{int} @code{;}
941 Discourage or encourage line breaks. See identifiers
942 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
943 section [on identifiers] [FIXME].
947 \clef@keyindex{clef} @var{clefname} @code{;}
950 Music expression that sets the current clef. The argument is a
951 string which specifies the name of the clef. Several clef names are
952 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
953 name, then the clef lowered or raised an octave will be generated.
954 Here are the supported clef names with middle C shown in each
963 %\property Voice.textStyle = typewriter
964 \clef subbass; c'4-"\kern -5mm subbass"
965 \clef bass; c'4^"\kern -2mm bass"
966 \clef baritone; c'4_"\kern -5mm baritone"
967 \clef varbaritone; c'4^"\kern -6mm varbaritone"
968 \clef tenor; c'4_"\kern -3mm tenor"
969 \clef "G_8"; c'4^"\kern -2mm G\\_8"
984 \clef alto; c'4_"\kern -2mm alto"
985 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
986 \clef soprano; c'4_"\kern -6mm soprano"
987 \clef treble; c'4^"\kern -4mm treble"
988 \clef french; c'4_"\kern -4mm french"
997 The three clef symbols can also be obtained using the names `@code{G}',
998 `@code{C}' or `@code{F}', optionally followed by an integer which
999 indicates at which note line the clef is located. An as example, the
1000 @code{mezzosoprano} clef can also be given as `@code{C2}'.
1004 \skip@keyindex{skip} @var{duration} @code{;}
1007 Skips the amount of time specified by @var{duration}. If no other
1008 music is played, a gap will be left for the skipped time with no
1009 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1010 this has the same effect as the space rest `@code{s}'.
1015 @node Manual beams, , , Reference Manual
1017 A beam is specified by surrounding the beamed notes with brackets
1018 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1020 @lilypond[fragment,verbatim,center]
1021 [a'8 a'] [a'16 a' a' a']
1024 Some more elaborate constructions:
1026 @lilypond[fragment,verbatim,center]
1027 [a'16 <a' c''> c'' <a' c''>]
1028 \times 2/3 { [e'8 f' g'] }
1031 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1035 To place tremolo marks between notes, use @code{\repeat} with tremolo
1037 @cindex tremolo beams
1038 To create tremolo beams on a single note, simply attach
1039 `@code{:}@var{length}' to the note itself (see also section
1040 XREF-tremolo [FIXME]).
1043 @lilypond[fragment,verbatim,center]
1044 \repeat "tremolo" 8 { c16 d16 }
1045 \repeat "tremolo" 4 { c16 d16 }
1048 @lilypond[fragment,verbatim,center]
1053 @cindex --@@@code{-}@code{-}
1061 The syntax for an extender mark is `@code{__}'. This syntax can only
1062 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1063 a hyphen that will be printed between two lyric syllables) is
1069 A tie connects two adjacent note heads of the same pitch. When used
1070 with chords, it connects all of the note heads whose pitches match.
1071 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1072 If you try to tie together chords which have no common pitches, a
1073 warning message will appear and no ties will be created.
1075 @lilypond[fragment,verbatim,center]
1076 e' ~ e' <c' e' g'> ~ <c' e' g'>
1081 [TODO: explain Requests]
1084 @cindex articulations
1090 A variety of symbols can appear above and below notes to indicate
1091 different characteristics of the performance. These symbols can be
1092 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1093 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1094 forced to appear above or below the note by writing
1095 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1096 respectively. Here is a chart showing symbols above notes, with the
1097 name of the corresponding symbol appearing underneath.
1103 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1104 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1105 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1106 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1107 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1108 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1109 c''-\thumb c''-\segno c''-\coda
1111 \context Lyrics \lyrics {
1112 accent__ marcato__ staccatissimo__ fermata
1113 stopped__ staccato__ tenuto__ upbow
1114 downbow__ lheel__ rheel__ ltoe
1115 rtoe__ turn__ open__ flageolet
1116 reverseturn__ trill__ prall__ mordent
1117 prallprall__ prallmordent__ uprall__ downprall
1118 thumb__ segno__ coda
1122 linewidth = 5.875\in;
1129 In addition, it is possible to place arbitrary strings of text or
1130 @TeX{} above or below notes by using a string instead of an
1131 identifier: `@code{c^"text"}'. Fingerings
1134 placed by simply using digits. All of these note ornaments appear in
1135 the printed output but have no effect on the MIDI rendering of the
1138 To save typing, fingering instructions (digits 0 to 9 are
1139 supported) and single characters shorthands exist for a few
1146 \property Voice.textStyle = typewriter
1152 c''4-^_"c-\\^{ }" s4
1159 linewidth = 5.875 \in;
1166 Dynamic marks are specified by using an identifier after a note:
1167 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1168 The available dynamic marks are:
1169 @code{\ppp}@keyindex{ppp},
1170 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1171 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1172 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1173 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1174 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1175 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1176 @code{\rfz}@keyindex{rfz}.
1181 \textscript@keyindex{textscript} @var{text} @var{style}
1184 Defines a text to be printed over or under a note. @var{style} is a
1185 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1186 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1188 You can attach a general textscript request using this syntax:
1193 c4-\textscript "6" "finger"
1194 c4-\textscript "foo" "normal"
1199 This is equivalent to `@code{c4-6 c4-"foo"}'.
1206 \script@keyindex{script} @var{alias}
1209 Prints a symbol above or below a note. The argument is a string
1210 which points into the script-alias table defined in @file{script.scm}.
1211 The scheme definitions specify whether the symbol follows notes into
1212 the staff, dependence of symbol placement on staff direction, and a
1213 priority for placing several symbols over one note. Usually the
1214 @code{\script}@keyindex{script} keyword is not used directly. Various
1215 helpful identifier definitions appear in @file{script.ly}.
1220 Slurs connects chords and try to avoid crossing stems. A slur is
1221 started with `@code{(}' and stopped with `@code{)}'. The
1222 starting `@code{(}' appears to the right of the first note in
1223 the slur. The terminal `@code{)}' appears to the left of the
1224 first note in the slur. This makes it possible to put a note in
1225 slurs from both sides:
1227 @lilypond[fragment,verbatim,center]
1228 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1234 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1235 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1236 @code{\decr}@keyindex{decr} and terminated with
1237 @code{\rced}@keyindex{rced}. There are also shorthands for these
1238 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1239 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1240 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1241 must go before the last note of the dynamic mark whereas @code{\rc}
1242 and @code{\rced} go after the last note. Because these marks are
1243 bound to notes, if you want to get several marks during one note, you
1244 must use spacer notes.
1246 @lilypond[fragment,verbatim,center]
1247 c'' \< \! c'' d'' \decr e'' \rced
1248 < f''1 { s4 \< \! s2 \> \! s4 } >
1254 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1257 Define a spanning request. The @var{startstop} parameter is either -1
1258 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1259 @var{type} is a string that describes what should be started.
1260 Supported types are @code{crescendo}, @code{decrescendo},
1261 @code{beam}, @code{slur}. This is an internal command. Users should
1262 use the shorthands which are defined in the initialization file
1265 You can attach a (general) span request to a note using
1267 @lilypond[fragment,verbatim,center]
1268 c'4-\spanrequest \start "slur"
1269 c'4-\spanrequest \stop "slur"
1272 The slur syntax with parentheses is a shorthand for this.
1276 @cindex tremolo marks
1278 @node stem tremolo, , , Reference Manual
1280 Tremolo marks can be printed on a single note by adding
1281 `@code{:}[@var{length}]' after the note. The length must be at
1282 least 8. A @var{length} value of 8 gives one line across
1283 the note stem. If the length is omitted, then the last value is
1284 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1287 @lilypond[verbatim,fragment,center]
1293 @node Compound music expressions, , , Reference Manual
1294 @section Compound music expressions
1296 @cindex compound music expressions
1298 Music expressions are compound data structures. You can nest music
1299 expressions any way you like. This simple example shows how three
1300 chords can be expressed in two different ways:
1302 @lilypond[fragment,verbatim,center]
1303 \notes \context Staff {
1305 <a c'> <b d' > <c' e'>
1306 < { a b c' } { c' d' e' } >
1310 @cindex context selection
1311 @c @keyindex{context}
1314 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1317 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1318 If the context does not exist, it will be created. The new context
1319 can optionally be given a name. See
1320 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1321 information on interpretation contexts.
1329 Mode switching keywords form compound music expressions: @code{\notes}
1330 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1331 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1332 These expressions do not add anything to the meaning of their
1333 arguments. They are just a way to indicate that the arguments should
1334 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1335 information on modes.
1337 More information on context selection can be found in
1338 section XREF-contextselection [FIXME].
1342 @cindex sequential music
1348 \sequential@keyindex{sequential}
1349 @code{@{} @var{musicexprlist} @code{@}}
1352 This means that list should be played or written in sequence, i.e.,
1353 the second after the first, the third after the second. The duration
1354 of sequential music is the the sum of the durations of the elements.
1355 There is a shorthand, which leaves out the keyword:
1359 @code{@{} @var{musicexprlist} @code{@}}
1364 @cindex simultaneous music
1371 \simultaneous@keyindex{simultaneous}
1372 @code{@{} @var{musicexprlist} @code{@}}
1375 It constructs a music expression where all of its arguments start at
1376 the same moment. The duration is the maximum of the durations of the
1377 elements. The following shorthand is a common idiom:
1381 @code{<} @var{musicexprlist} @code{>}
1384 If you try to use a chord as the first thing in your score, you might
1385 get multiple staffs instead of a chord.
1387 @lilypond[verbatim,center]
1396 This happens because the chord is interpreted by a score context.
1397 Each time a note is encountered a default Voice context (along with a
1398 Staff context) is created. The solution is to explicitly instantiate
1401 @lilypond[verbatim,center]
1403 \notes\context Voice <c''4 e''>
1412 @cindex relative pitch specification
1414 @node relative, , , Reference Manual
1416 It is easy to get confused by octave changing marks and accidentally
1417 putting a pitch in the wrong octave. A much better way of entering a
1418 note's octave is `the relative octave' mode.
1422 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1425 The octave of notes that appear in @var{musicexpr} are calculated as
1426 follows: If no octave changing marks are used, the basic interval
1427 between this and the last note is always taken to be a fourth or
1428 less.@footnote{The interval is determined without regarding
1429 accidentals. A @code{fisis} following a @code{ceses} will be put above
1430 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1431 can then be added to raise or lower the pitch by an extra octave.
1432 Upon entering relative mode, an absolute starting pitch must be
1433 specified that will act as the predecessor of the first note of
1436 Entering scales is straightforward in relative mode.
1438 @lilypond[fragment,verbatim,center]
1444 And octave changing marks are used for intervals greater than a fourth.
1446 @lilypond[fragment,verbatim,center]
1448 c g c f, c' a, e'' }
1451 If the preceding item is a chord, the first note of the chord is used
1452 to determine the first note of the next chord. But other notes
1453 within the second chord are determined by looking at the immediately
1456 @lilypond[fragment,verbatim,center]
1464 The pitch after the @code{\relative} contains a notename. To parse
1465 the pitch as a notename, you have to be in note mode, so there must
1466 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1469 The relative conversion will not affect @code{\transpose} or
1470 @code{\relative} sections in its argument. If you want to use
1471 relative within transposed music, you must place an additional
1472 @code{\relative} inside the @code{\transpose}.
1474 It is strongly recommended to use relative pitch mode: less work,
1475 less error-prone, and more readable.
1479 Chord names are a way to generate simultaneous music expressions that
1480 correspond with traditional chord names. It can only be used in
1481 Chord mode (see section XREF-modes [FIXME]).
1485 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1488 @var{tonic} should be the tonic note of the chord, and @var{duration}
1489 is the chord duration in the usual notation. There are two kinds of
1490 modifiers. One type is @emph{chord additions}, which are obtained by
1491 listing intervals separated by dots. An interval is written by its
1492 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1493 lowering by half a step. Chord additions has two effects: It adds
1494 the specified interval and all lower odd numbered intervals to the
1495 chord, and it may lower or raise the specified interval. Intervals
1496 must be separated by a dot (`@code{.}').
1500 @lilypond[fragment,verbatim]
1504 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1511 The second type of modifier that may appear after the `@code{:}' is a
1512 named modifier. Named modifiers are listed in the file
1513 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1514 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1515 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1516 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1517 which replaces the 5th with a 4th.
1521 @lilypond[fragment,verbatim]
1524 c1:m c:min7 c:maj c:aug c:dim c:sus
1532 Chord subtractions are used to eliminate notes from a chord. The
1533 notes to be subtracted are listed after a `@code{^}' character,
1536 @lilypond[fragment,verbatim,center]
1544 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1545 the name of a single note to a chord. This has the effect of
1546 lowering the specified note by an octave so it becomes the lowest
1547 note in the chord. If the specified note is not in the chord, a
1548 warning will be printed.
1550 @lilypond[fragment,verbatim,center]
1559 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1560 the name of a single note to a chord. This has the effect of
1561 adding the specified note to the chord, lowered by an octave,
1562 so it becomes the lowest note in the chord.
1564 @lilypond[fragment,verbatim,center]
1573 Throughout these examples, chords have been shifted around the staff
1574 using @code{\transpose}.
1576 You should not combine @code{\relative} with named chords.
1582 Tuplets are made out of a music expression by multiplying their
1583 duration with a fraction.
1587 \times@keyindex{times} @var{fraction} @var{musicexpr}
1590 The duration of @var{musicexpr} will be multiplied by the fraction.
1591 In print, the fraction's denominator will be printed over the notes,
1592 optionally with a bracket. The most common tuplet is the triplet in
1593 which 3 notes have the length of 2, so the notes are 2/3 of
1594 their written length:
1596 @lilypond[fragment,verbatim,center]
1597 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1606 \grace@keyindex{grace} @var{musicexpr}
1609 A grace note expression has duration 0; the next real note is
1610 assumed to be the main note.
1612 You cannot have the grace note after the main note, in terms of
1613 duration, and main notes, but you can typeset the grace notes to the
1614 right of the main note using the property
1615 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1617 When grace music is interpreted, a score-within-a-score is set up:
1618 @var{musicexpr} has its own time bookkeeping, and you could (for
1619 example) have a separate time signature within grace notes. While in
1620 this score-within-a-score, you can create notes, beams, slurs, etc.
1621 Unbeamed eighth notes and shorter by default have a slash through the
1622 stem. This behavior can be controlled with the
1623 @code{flagStyle}@indexcode{flagStyle} property.
1627 @lilypond[fragment,verbatim]
1629 \grace c8 c4 \grace { [c16 c16] } c4
1630 \grace { \property Grace.flagStyle = "" c16 } c4
1636 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1640 @code{\grace @{ \grace c32 c16 @} c4}
1643 may result in run-time errors of LilyPond. Since the meaning of such
1644 a construct is unclear, we don't consider this a loss. Similarly,
1645 juxtaposing two @code{\grace} sections is syntactically valid, but
1646 makes no sense and may cause runtime errors.
1648 Ending a staff or score with grace notes may also generate a run-time
1649 error, since there will be no main note to attach the grace notes to.
1655 @node Repeats, , , Reference Manual
1657 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1658 keyword. Since repeats look and sound differently when played or
1659 printed, there are a few different variants of repeats.
1663 Repeated music is fully written (played) out. Useful for MIDI
1667 This is the normal notation: Repeats are not written out, but
1668 alternative endings (voltas) are printed, left to right.
1671 Alternative endings are written stacked, which is useful for
1675 The syntax for repeats is
1679 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1682 If you have alternative endings, you may add
1686 \alternative@keyindex{alternative}
1687 @code{@{} @var{alternative1}
1689 @var{alternative3} @dots{} @code{@}}
1692 where each @var{alternative} is a Music expression.
1694 Normal notation repeats are used like this:
1698 @lilypond[fragment,verbatim]
1700 \repeat volta 2 { c'4 d' e' f' }
1701 \repeat volta 2 { f' e' d' c' }
1706 With alternative endings:
1710 @lilypond[fragment,verbatim]
1712 \repeat volta 2 {c'4 d' e' f'}
1713 \alternative { {d'2 d'} {f' f} }
1718 Folded repeats look like this:@footnote{Folded repeats offer little
1719 more over simultaneous music. However, it is to be expected that
1720 more functionality -- especially for the MIDI backend -- will be
1725 @lilypond[fragment,verbatim]
1727 \repeat fold 2 {c'4 d' e' f'}
1728 \alternative { {d'2 d'} {f' f} }
1735 @lilypond[fragment,verbatim]
1739 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1740 \alternative { { g4 g g } { a | a a a a | b1 } }
1747 If you don't give enough alternatives for all of the repeats, then
1748 the first alternative is assumed to be repeated often enough to equal
1749 the specified number of repeats.
1753 @lilypond[fragment,verbatim]
1756 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1757 \alternative { { g4 g g }
1758 {\partial 1; e4 e e }
1759 {\partial 1; a a a a | b1 } }
1766 It is possible to nest @code{\repeat}. This is not entirely
1767 supported: the notes will come be in the right places, but the repeat
1772 @cindex transposition of pitches
1774 @node transpose, , , Reference Manual
1776 A music expression can be transposed with
1777 @code{\transpose}@keyindex{transpose}. The syntax is
1781 \transpose @var{pitch} @var{musicexpr}
1784 This means that middle C in @var{musicexpr} is transposed to
1787 @code{\transpose} distinguishes between enharmonic pitches: both
1788 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1789 a tone. The first version will print sharps and the second version
1794 @lilypond[fragment,verbatim]
1797 { \key e \major; c d e f }
1799 \transpose des'' { \key e \major; c d e f }
1800 \transpose cis'' { \key e \major; c d e f }
1806 If you want to use both @code{\transpose} and @code{\relative}, then
1807 you must use @code{\transpose} first. @code{\relative} will have no
1808 effect music that appears inside a @code{\transpose}.
1812 @cindex automatic lyric durations
1814 If you have lyrics that are set to a melody, you can import the
1815 rhythm of that melody into the lyrics using @code{\addlyrics}.
1816 @keyindex{addlyrics} The syntax for this is
1820 \addlyrics @var{musicexpr1 musicexpr2}
1823 This means that both @var{musicexpr1} and @var{musicexpr2} are
1824 interpreted, but that every non-command atomic music expression
1825 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1826 of @var{musicexpr1}.
1828 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1829 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1834 @lilypond[verbatim,fragment]
1837 \property Voice.automaticMelismata = ##t
1838 c8 () cis d8. e16 f2
1840 \context Lyrics \lyrics {
1846 You should use a single rhythm melody, and single rhythm lyrics (a
1847 constant duration is the obvious choice). If you do not, you will get
1848 undesired effects when using multiple stanzas:
1852 @lilypond[verbatim,fragment]
1855 c8 () cis d8. e16 f2
1857 \context Lyrics \lyrics
1864 It is valid (but probably not very useful) to use notes instead of
1865 lyrics for @var{musicexpr2}.
1870 @node Ambiguities, , , Reference Manual
1871 @section Ambiguities
1875 The grammar contains a number of ambiguities.@footnote{The authors
1876 hope to resolve them at a later time.}
1879 @item The assignment
1885 can be interpreted as making a string identifier @code{\foo}
1886 containing @code{"bar"}, or a music identifier @code{\foo}
1887 containing the syllable `bar'.
1889 @item The assignment
1895 can be interpreted as making an integer identifier
1896 containing -6, or a Request identifier containing the
1897 fingering `6' (with neutral direction).
1899 @item If you do a nested repeat like
1911 then it is ambiguous to which @code{\repeat} the
1912 @code{\alternative} belongs. This is the classic if-then-else
1913 dilemma. It may be solved by using braces.
1915 @item (an as yet unidentified ambiguity :-)
1920 @node Notation conversion specifics, , , Reference Manual
1921 @section Notation conversion specifics
1925 @cindex automatic beam generation
1927 @node autobeam, , , Reference Manual
1929 By default, LilyPond will generate beams automatically. This feature
1930 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1931 property to 1. It can be overridden for specific cases by
1932 specifying explicit beams as described in
1933 section XREF-manualbeam [FIXME].
1935 A large number of Voice properties are used to decide how to generate
1936 beams. Their default values appear in @file{auto-beam-settings.ly}.
1937 In general, beams can begin anywhere, but their ending location is
1938 significant. Beams can end on a beat, or at durations specified by
1939 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1940 quarter note, for example, you could set
1941 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1942 at every three eighth notes you would set it to `@code{"3/8"}'. The
1943 same syntax can be used to specify beam starting points using
1944 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1946 To allow different settings for different time signatures, these
1947 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1948 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1949 to specify beams ending only for 6/8 time you would use the
1950 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1951 for notes of different durations, the duration can be tacked onto the
1952 end of the property. To specify beam endings for beams that contain
1953 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1961 @cindex printing!chord names
1963 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1964 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1965 either using the notation described above, or directly using
1970 @lilypond[fragment,verbatim]
1972 \context ChordNames {
1973 \chords{a b c} \notes{<d f g> <e g b>}
1975 \context Staff \notes {
1983 LilyPond examines chords specified as lists of notes to determine a
1984 name to give the chord. By default, LilyPond will not try to
1985 identify chord inversions:
1987 @lilypond[fragment,verbatim,center]
1989 \context ChordNameVoice \notes {
1992 \context Thread \notes {
1998 If you want inversions to be recognized, you must set the property
1999 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
2001 @lilypond[fragment,verbatim,center]
2003 \property Score.chordInversion = ##t
2004 \context ChordNameVoice \notes {
2007 \context Thread \notes {
2017 @cindex printing!lyrics
2019 @node lyricprint, , , Reference Manual
2021 Lyric syllables must be interpreted within a @code{Lyrics} context
2023 @cindex context!Lyrics
2026 Here is a full example:
2033 \notes \transpose c'' {
2035 e f g2 | e4 f g2 \bar "|.";
2037 \context Lyrics \lyrics {
2038 Va-4 der Ja- cob Va- der Ja- cob
2039 Slaapt gij nog?2 Slaapt4 gij nog?2
2047 You may want a continuous line after the syllables to show melismata.
2048 To achieve this effect, add a `@code{__}' lyric as a separate word
2049 after the lyric to be extended. This will create an extender, a line
2050 that extends over the entire duration of the lyric. This line will
2051 run all the way to the start of the next lyric, so you may want to
2052 shorten it by using a blank lyric (using `@code{_}').
2059 \notes \relative c'' {
2060 a4 () b () c () d | c () d () b () a | c () d () b () a
2062 \context Lyrics \lyrics {
2063 foo1 __ | bar2. __ _4 | baz1 __
2072 If you want to have hyphens centered between syllables (rather than
2073 attached to the end of the first syllable) you can use the special
2074 `@code{-}@code{-}' lyric as a separate word between syllables. This
2075 will result in a hyphen which length varies depending on the space
2076 between syllables, and which will be centered between the syllables.
2084 \notes \transpose c'' {
2086 e f g2 | e4 f g2 \bar "|.";
2088 \context Lyrics \lyrics {
2089 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2090 Slaapt gij nog?2 | Slaapt4 gij nog?2
2100 @node Notation Contexts, , , Reference Manual
2101 @section Notation Contexts
2103 @cindex notation contexts
2105 Notation contexts are objects that only exist during a run of
2106 LilyPond. During the interpretation phase of LilyPond, the Music
2107 expression contained in a @code{\score} block is interpreted in time
2108 order. This is the order in which humans read, play, and write
2111 A context is an object that holds the reading state of the
2112 expression; it contains information like
2115 @item What notes are playing at this point?
2116 @item What symbols will be printed at this point?
2117 @item In what style will they printed?
2118 @item What is the current key signature, time signature, point within
2122 Contexts are grouped hierarchically: A @code{Voice} context is
2123 contained in a @code{Staff} context (because a staff can contain
2124 multiple voices at any point), a @code{Staff} context is contained in
2125 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2126 these can all contain multiple staffs).
2128 Contexts associated with sheet music output are called @emph{notation
2129 contexts}, those for sound output are called playing contexts.
2131 Contexts are created either manually or automatically. Initially,
2132 the top level music expression is interpreted by the top level
2133 context (the @code{Score} context). When a atomic music expression
2134 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2135 set of contexts is created that can process these atomic expressions,
2141 \score @{ \notes < c4 > @}
2146 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2147 context. When the note `@code{c4}' itself is interpreted, a set of
2148 contexts is needed that will accept notes. The default for this is a
2149 @code{Voice} context, contained in a @code{Staff} context. Creation of
2150 these contexts results in the staff being printed.
2155 You can also create contexts manually, and you probably have to do so
2156 if you want to typeset complicated multiple part material. If a
2157 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2158 during the interpretation phase, the @var{musicexpr} argument will be
2159 interpreted with a context of type @var{name}. If you specify a name,
2160 the specific context with that name is searched.
2162 If a context of the specified type and name can not be found, a new
2163 one is created. For example,
2169 \notes \relative c'' {
2170 c4 <d4 \context Staff = "another" e4> f
2177 In this example, the @code{c} and @code{d} are printed on the
2178 default staff. For the @code{e}, a context Staff called
2179 `@code{another}' is specified; since that does not exist, a new
2180 context is created. Within @code{another}, a (default) Voice context
2181 is created for the @code{e4}. When all music referring to a
2182 context is finished, the context is ended as well. So after the
2183 third quarter, @code{another} is removed.
2185 Almost all music expressions inherit their interpretation context
2186 from their parent. In other words, suppose that the syntax for a
2191 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2194 When the interpretation of this music expression starts, the context
2195 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2198 Lastly, you may wonder, why this:
2204 \notes \relative c'' @{
2212 doesn't result in this:
2217 \notes \relative c'' {
2224 For the @code{c4}, a default @code{Staff} (with a contained
2225 @code{Voice}) context is created. After the @code{c4} ends, no
2226 music refers to this default staff, so it would be ended, with the
2227 result shown. To prevent this inconvenient behavior, the context to
2228 which the sequential music refers is adjusted during the
2229 interpretation. So after the @code{c4} ends, the context of the
2230 sequential music is also the default @code{Voice} context.
2231 The @code{d4} gets interpreted in the same context
2236 These are the contexts supplied with the package. They are defined
2237 in the initialization file @file{ly/engraver.ly}.
2244 Properties that are set in one context are inherited by all of the
2245 contained contexts. This means that a property valid for the
2246 @code{Voice} context can be set in the @code{Score} context (for
2247 example) and thus take effect in all @code{Voice} contexts.
2249 Properties can be preset within the @code{\translator} block
2250 corresponding to the appropriate context. In this case, the syntax
2255 @var{propname} @code{=} @var{value}
2258 This assignment happens before interpretation starts, so a
2259 @code{\property} expression will override any predefined settings.
2261 The @code{\property} expression will create any property you specify.
2262 There is no guarantee that a property will be used. So if you spell
2263 a property name wrong, there will be no error message.
2265 The property settings are used during the interpretation phase. They
2266 are read by the LilyPond modules where interpretation contexts are
2267 built of. These modules are called @emph{translators}. Translators for
2268 notation are called @emph{engravers}, and translators for sound are
2269 called @emph{performers}.
2271 The precise result of a property is determined by the implementation
2272 of the translator that reads them. Therefore, the result of a
2273 property can vary, since it is implementation and configuration
2276 In order to fully find out what properties are used, you must
2277 currently search the source code for calls to @code{get_property}.
2278 The rest of the section is devoted to an (incomplete) overview of
2279 available properties.
2281 @mbinclude properties.itely
2283 @node Notation output definitions, , , Reference Manual
2284 @section Notation output definitions
2288 @cindex notation output
2290 @cindex output definition
2292 @node paper, , , Reference Manual
2294 The most important output definition is the @code{\paper} block, for
2295 music notation. The syntax is
2299 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2302 where each of the items is one of
2305 @item An assignment. The assignment must be terminated by a
2306 semicolon. See section XREF-papervars [FIXME] for information on
2309 @item A context definition. See section XREF-contextdefs [FIXME] for
2310 more information on context definitions.
2315 A margin shape declaration. The syntax is
2319 \shape @var{indent1}@code{,} @var{width1}@code{,}
2320 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2325 Each pair of @var{indent} and @var{width} values is a dimension
2326 specifying how far to indent and how wide to make the line.
2327 The indentation and width of successive lines are specified by
2328 the successive pairs of dimensions. The last pair of
2329 dimensions will define the characeristics of all lines beyond
2330 those explicitly specified.
2332 @item \stylesheet declaration. Its syntax is
2335 \stylesheet @var{scm}
2339 See font.scm for details of @var{scm}
2344 @cindex changing font size and paper size
2346 The Feta font provides musical symbols at six different sizes. These
2347 fonts are 11 point, 13 point, 16 point, 20 point,
2348 23 point, and 26 point. The point size of a font is the
2349 height of the five lines in a staff when displayed in the font.
2351 Definitions for these sizes are the files @file{paperSZ.ly}, where
2352 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2353 any of these files, the identifiers @code{paper_eleven},
2354 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2355 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2356 respectively. The default @code{\paper} block is also set.
2358 To change the paper size, you must first set the
2359 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2360 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2361 you must set the font as described above. If you want the default
2362 font, then use the 20 point font. The new paper size will not
2363 take effect if the font is not loaded and selected afterwards. Paper
2364 size selection works by loading a file named after the paper size you
2369 @cindex paper variables
2371 @node Paper variables, , , Reference Manual
2373 There is a large number of paper variables that are used to control
2374 details of the layout. These variables control the defaults for the
2375 entire score. Usually, they do not have to be changed; they are by
2376 default set to values that depend on the font size in use. The
2377 values are used by the graphic objects while formatting the score;
2378 they are therefore implementation dependent. Most variables are
2379 accompanied by documentation in the initalization file
2380 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2383 Nevertheless, here are some variables you may want to use or change:
2386 @item @code{indent}@indexcode{indent}
2387 The indentation of the first line of music.
2389 @item @code{staffspace}@indexcode{staffspace}
2390 The distance between two staff lines, calculated from the center
2391 of the lines. You should use either this or @code{rulethickness}
2392 as a unit for distances you modify.
2394 @item @code{linewidth}@indexcode{linewidth}
2395 Sets the width of the lines. If set to -1.0, a single
2396 unjustified line is produced.
2398 @item @code{textheight}@indexcode{textheight}
2399 Sets the total height of the music on each page. Only used by
2402 @item @code{interscoreline}@indexcode{interscoreline}
2403 Sets the spacing between the score lines. Defaults to 16 pt.
2405 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2406 If set to a positive number, the distance between the score
2407 lines will stretch in order to fill the full page. In that
2408 case @code{interscoreline} specifies the minimum spacing.
2411 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2412 Determines the thickness of staff and bar lines.
2416 @node contextdefs, , , Reference Manual
2418 @cindex context definition
2420 A notation contexts is defined by the following information
2425 @item The LilyPond modules that do the actual conversion of music to
2426 notation. Each module is a so-called
2431 @item How these modules should cooperate, i.e. which ``cooperation
2432 module'' should be used. This cooperation module is a special
2435 @item What other contexts the context can contain,
2437 @item What properties are defined.
2440 A context definition has this syntax:
2444 \translator @code{@{}
2445 @var{translatorinit} @var{translatormodifierlist}
2449 @var{translatorinit} can be an identifier or of the form
2453 \type @var{typename} @code{;}
2456 @var{typename} is one of
2459 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2460 The standard cooperation engraver.
2462 @item @code{Score_engraver}@indexcode{Score_engraver}
2463 This is cooperation module that should be in the top level context.
2465 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2466 This is a special cooperation module (resembling
2467 @code{Score_engraver}) that is used to created an embedded
2471 @var{translatormodifierlist} is a list of items where each item is
2475 @item @code{\consists} @var{engravername} @code{;}
2476 Add @var{engravername} to the list of modules in this context.
2477 Section XREF-engravers [FIXME] contains an overview of the engravers
2478 available. The order of engravers added with @code{\consists} is
2481 @item @code{\consistsend} @var{engravername} @code{;}
2482 Analogous to @code{\consists}, but makes sure that
2483 @var{engravername} is always added to the end of the list of
2486 Some engraver types need to be at the end of the list; this
2487 insures they are put there, and stay there, if a user adds or
2488 removes engravers. This command is usually not needed for
2491 @item @code{\accepts} @var{contextname} @code{;}
2492 Add @var{contextname} to the list of context this context can
2493 contain. The first listed context the context to create by
2496 @item @code{\remove} @var{engravername} @code{;}
2497 Remove a previously added (with @code{\consists}) engraver.
2499 @item @code{\name} @var{contextname} @code{;}
2500 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2501 the name is not specified, the translator won't do anything.
2503 @item @var{propname} @code{=} @var{value} @code{;}
2504 A property assignment. It is allowed to use reals for
2508 In the @code{\paper} block, it is also possible to define translator
2509 identifiers. Like other block identifiers, the identifier can only
2510 be used as the very first item of a translator. In order to define
2511 such an identifier outside of @code{\score}, you must do
2517 foo = \translator @{ @dots{} @}
2524 \translator @{ \foo @dots{} @}
2532 @cindex paper types, engravers, and pre-defined translators
2534 Some pre-defined identifiers can simplify modification of
2535 translators. The pre-defined identifiers are:
2538 @item @code{StaffContext}@indexcode{StaffContext}
2539 Default Staff context.
2541 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2542 Default RhythmicStaff context.
2544 @item @code{VoiceContext}@indexcode{VoiceContext}
2545 Default Voice context.
2547 @item @code{ScoreContext}@indexcode{ScoreContext}
2548 Default Score context.
2550 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2551 Score context with numbering at the Score level.
2553 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2554 Staff context with numbering at the Staff level.
2556 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2557 Staff context that does not print if it only contains rests.
2558 Useful for orchestral scores.@footnote{Harakiri, also called
2559 Seppuku, is the ritual suicide of the Samourai.}
2561 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2563 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2566 Using these pre-defined values, you can remove or add items to the
2575 \remove Some_engraver;
2576 \consists Different_engraver;
2584 @node Sound output, , , Reference Manual
2585 @section Sound output
2589 The MIDI block is analogous to the paper block, but it is simpler.
2590 The @code{\midi} block can contain:
2594 @item a @code{\tempo} definition
2595 @item context definitions
2598 Assignments in the @code{\midi} block are not allowed.
2602 @cindex context definition
2604 Context definitions follow precisely the same syntax as within the
2605 \paper block. Translation modules for sound are called performers.
2606 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2610 @cindex MIDI instrument names
2612 @node midilist, , , Reference Manual
2614 The MIDI instrument name is set by the
2615 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2616 if that property is not set, the
2617 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2618 instrument name should be chosen from the following list. If the
2619 selected string does not exactly match, then LilyPond uses the default
2625 "acoustic grand" "contrabass" "lead 7 (fifths)"
2626 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2627 "electric grand" "pizzicato strings" "pad 1 (new age)"
2628 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2629 "electric piano 1" "timpani" "pad 3 (polysynth)"
2630 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2631 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2632 "clav" "synthstrings 1" "pad 6 (metallic)"
2633 "celesta" "synthstrings 2" "pad 7 (halo)"
2634 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2635 "music box" "voice oohs" "fx 1 (rain)"
2636 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2637 "marimba" "orchestra hit" "fx 3 (crystal)"
2638 "xylophone" "trumpet" "fx 4 (atmosphere)"
2639 "tubular bells" "trombone" "fx 5 (brightness)"
2640 "dulcimer" "tuba" "fx 6 (goblins)"
2641 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2642 "percussive organ" "french horn" "fx 8 (sci-fi)"
2643 "rock organ" "brass section" "sitar"
2644 "church organ" "synthbrass 1" "banjo"
2645 "reed organ" "synthbrass 2" "shamisen"
2646 "accordion" "soprano sax" "koto"
2647 "harmonica" "alto sax" "kalimba"
2648 "concertina" "tenor sax" "bagpipe"
2649 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2650 "acoustic guitar (steel)" "oboe" "shanai"
2651 "electric guitar (jazz)" "english horn" "tinkle bell"
2652 "electric guitar (clean)" "bassoon" "agogo"
2653 "electric guitar (muted)" "clarinet" "steel drums"
2654 "overdriven guitar" "piccolo" "woodblock"
2655 "distorted guitar" "flute" "taiko drum"
2656 "guitar harmonics" "recorder" "melodic tom"
2657 "acoustic bass" "pan flute" "synth drum"
2658 "electric bass (finger)" "blown bottle" "reverse cymbal"
2659 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2660 "fretless bass" "whistle" "breath noise"
2661 "slap bass 1" "ocarina" "seashore"
2662 "slap bass 2" "lead 1 (square)" "bird tweet"
2663 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2664 "synth bass 2" "lead 3 (calliope)" "helicopter"
2665 "violin" "lead 4 (chiff)" "applause"
2666 "viola" "lead 5 (charang)" "gunshot"
2667 "cello" "lead 6 (voice)"
2673 @cindex MIDI types and performers
2675 The types available for MIDI translators are:
2678 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2679 @item @code{Score_performer}@indexcode{Score_performer}
2680 @item @code{Staff_performer}@indexcode{Staff_performer}
2683 The performers for MIDI translators are:
2686 @item @code{Key_performer}@indexcode{Key_performer}
2687 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2688 @item @code{Note_performer}@indexcode{Note_performer}
2689 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2690 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2695 @node Pre-defined Identifiers, , , Reference Manual
2697 @section Pre-defined Identifiers
2699 @cindex pre-defined identifiers
2702 Various identifiers are defined in the initialization files to
2703 provide shorthands for some settings. Most of them are in
2704 @file{ly/declarations.ly}.
2707 @item @code{\break}@keyindex{break}
2708 Force a line break in music by using a large argument for the
2709 keyword @code{\penalty}.
2711 @item @code{\center}@keyindex{center}
2712 Used for setting direction properties. Equals 0.
2714 @item @code{\down}@keyindex{down}
2715 Used for setting direction setting properties. Is equal
2718 @item @code{\free}@keyindex{free}
2719 Used for setting direction setting properties. Is equal
2722 @item @code{\left}@keyindex{left}
2723 Used for setting text alignment property. Is equal to -1.
2725 @item @code{\nobreak}@keyindex{nobreak}
2726 Prevent a line break in music by using a large negative argument
2727 for the keyword @code{\penalty}.
2729 @item @code{\none}@keyindex{none}
2730 Used for setting @code{Score.beamslopedamping} and
2731 @code{Score.beamquantisation} properties. Is equal to 0.
2733 @item @code{\normal}@keyindex{normal}
2734 Used for setting @code{Score.beamslopedamping} and
2735 @code{Score.beamquantisation} properties. Is equal to 1.
2737 @item @code{\normalkey}@keyindex{normalkey}
2738 Select normal key signatures where each octave has the same key
2739 signature. This sets the @code{Staff.keyoctaviation} property.
2741 @item @code{\right}@keyindex{right}
2742 Used for setting text alignment property. Is set to 1.
2744 @item @code{\shiftoff}@keyindex{shiftOff}
2745 Disable horizontal shifting of note heads that collide. Sets the
2746 @code{Voice.horizontalNoteShift} property.
2748 @item @code{\shiftOn}@keyindex{shiftOn}
2749 Enable note heads that collide with other note heads to be
2750 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2753 @item @code{\slurBoth}@keyindex{slurBoth}
2754 Allow slurs to be above or below notes. This sets the
2755 @code{Voice.slurVerticalDirection} property.
2757 @item @code{\slurDown}@keyindex{slurDown}
2758 Force slurs to be below notes. This sets the
2759 @code{Voice.slurVerticalDirection} property.
2761 @item @code{\slurUp}@keyindex{slurUp}
2762 Force slurs to be above notes. This sets the
2763 @code{Voice.slurVerticalDirection} property.
2765 @item @code{\specialkey}@keyindex{specialkey}
2766 Allow key signatures do differ in different octaves. This sets
2767 the @code{Staff.keyoctaviation} property.
2769 @item @code{\stemBoth}@keyindex{stemBoth}
2770 Allow stems, beams, and slurs to point either upwards or
2771 downwards, decided automatically by LilyPond. This sets the
2772 @code{Voice.verticalDirection} property.
2774 @item @code{\stemdown}@keyindex{stemdown}
2775 Force stems, beams, and slurs to point down. This sets the
2776 @code{Voice.verticalDirection} property.
2778 @item @code{\stemUp}@keyindex{stemUp}
2779 Force stems, beams and slurs to point up. This sets the
2780 @code{Voice.verticalDirection} property.
2782 @item @code{\traditional}@keyindex{traditional}
2783 Used for setting the @code{Score.beamquantisation} property. Is
2786 @item @code{\up}@keyindex{up}
2787 Used for setting various direction properties. Is equal