3 @node Reference Manual, , , Top
6 * Top level:: Top level
7 * notenames:: notenames
8 * Lexical conventions:: Lexical conventions
9 * Other languages:: notelang
12 * Music expressions:: Music expressions
13 * Atomic music expressions:: Atomic music expressions
14 * Note specification:: notedesc
16 * Manual beams:: Manual beam
18 * Compound music expressions:: Compound music expressions
21 * transpose:: transpose
22 * Ambiguities:: Ambiguities
23 * Notation conversion specifics:: Notation conversion specifics
25 * lyricprint:: lyricprint
26 * Notation Contexts:: Notation Contexts
27 * Properties:: Changing formatting
28 * Notation output definitions:: Notation output definitions
30 * Paper variables:: papervars
31 * contextdefs:: contextdefs
32 * engravers:: engravers
33 * Sound output:: Sound output
35 * Pre-defined Identifiers:: Pre-defined Identifiers
38 @chapter Reference Manual
42 @node Overview, , , Reference Manual
45 This document@footnote{This document has been revised for
46 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
47 a language for defining music. We call this language @emph{Music
48 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
49 comes up with a better name, we'd gladly take this. Gourlay already
50 uses a ``Musical Description Language,'' ISO standard 10743 defines a
51 ``Standard Music Description Language.'' We're not being original
54 @emph{Mudela} is a language that allows you to
57 @item create musical expressions by combining pitches, durations
58 @item output those musical expressions to various formats
59 @item give those musical expressions and output definitions names, so
60 you can enter them in manageable chunks.
63 @emph{Mudela} aims to define a piece of music completely, both from
64 typesetting and from a performance point of view.
68 @node Top level, , , Reference Manual
73 This section describes what you may enter at top level.
77 @cindex score definition
79 The output is generated combining a music expression with an output
80 definition. A score block has the following syntax:
83 \score @{ @var{musicexpr} @var{outputdefs} @}
86 @var{outputdefs} are zero or more output definitions. If no output
87 definition is supplied, the default @code{\paper} block will be added.
98 \header @{ @var{key1} = @var{val1};
99 @var{key2} = @var{val2}; @dots{} @}
102 A header describes the file's contents. It can also appear in a
103 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
104 information for generating titles. Key values that are used by
105 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
106 metre, arranger, piece and tagline.
108 It is customary to put the @code{\header} at the top of the file.
111 @node notenames, , , Reference Manual
113 Note name tables can be specified using
116 \notenames@keyindex{notenames}
117 @{ @var{assignmentlist} @}
120 @var{assignmentlist} is a list of definitions of the form
123 @var{name} = @var{pitch}
126 Chord modifiers can be set analogously, with
127 @code{\chordmodifiers}@keyindex{chordmodifiers}.
129 A @code{\paper} block at top level sets the default paper block. A
130 @code{\midi} block at top level works similarly.
134 LilyPond contains a Scheme interpreter (the GUILE library) for
135 internal use. The following commands access the interpreter
139 \scm @keyindex{scm} @var{scheme} ;
142 Evaluates the specified Scheme code. The result is discarded.
145 \scmfile@keyindex{scmfile} @var{filename};
148 Reads Scheme code from the specified file. The result is discarded.
152 Identifier assignments may appear at top level. Semicolons are
153 forbidden after top level assignments.
157 @node Lexical conventions, , , Reference Manual
158 @section Lexical conventions
160 @cindex lexical conventions
169 A one line comment is introduced by a `@code{%}' character.
170 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
171 They cannot be nested.
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
239 Formed from an optional minus sign followed by digits. Arithmetic
240 operations cannot be done with integers, and integers cannot be mixed
248 Formed from an optional minus sign and a sequence of digits followed
249 by a @emph{required} decimal point and an optional exponent such as
250 @code{-1.2e3}. Reals can be built up using the usual operations:
251 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
252 `@code{/}@indexcode{/}', with parentheses for grouping.
254 A real constant can be followed by one of the dimension
257 @code{\mm}@keyindex{mm},
258 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
259 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
260 centimeters, respectively. This converts the number to a real that
261 is the internal representation of dimensions.
268 Begins and ends with the `@code{"}' character. To include a `@code{"}'
269 character in a string write `@code{\"}'. Various other backslash
270 sequences have special interpretations as in the C language. A
271 string that contains no spaces can be written without the quotes.
272 See section XREF-modes [FIXME] for details on unquoted strings; their
273 interpretation varies depending on the situation. Strings can be
274 concatenated with the `@code{+}' operator.
277 The tokenizer accepts the following commands. They can appear
281 \maininput@keyindex{maininput}
284 This command is used in init files to signal that the user file must
285 be read. This command cannot be used in a user file.
288 \include@keyindex{include} @var{file}
291 Include @var{file}. The argument @var{file} may be a quoted string (an
292 unquoted string will not work here!) or a string identifier. The full
293 filename including the @file{.ly} extension must be given,
296 \version@keyindex{version} @var{string} ;
299 Specify the version of LilyPond that a file was written for. The
300 argument is a version string in quotes, for example @code{"1.2.0"}.
301 This is used to detect invalid input, and to aid
302 @code{convert-mudela}, a tool that automatically upgrades input files.
306 @cindex other languages
308 @node Other languages, , , Reference Manual
310 Note name definitions have been provided in various languages.
311 Simply include the language specific init file. For example:
312 `@code{\include "english.ly"}'. The available language files and the
313 names they define are:
318 Note Names sharp flat
319 nederlands.ly c d e f g a bes b -is -es
320 english.ly c d e f g a bf b -s/-sharp -f/-flat
321 deutsch.ly c d e f g a b h -is -es
322 norsk.ly c d e f g a b h -iss/-is -ess/-es
323 svenska.ly c d e f g a b h -iss -ess
324 italiano.ly do re mi fa sol la sid si -d -b
325 catalan.ly do re mi fa sol la sid si -d/-s -b
330 Pitch names can be redefined using the
331 @code{\notenames}@keyindex{notenames} command, see
332 subsection XREF-notenames [FIXME].
336 @cindex lexical modes
340 @node modes, , , Reference Manual
342 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
343 special input modes on top of the default mode. In each mode, words
344 are identified on the input. If @code{"word"} is encountered, it is
345 treated as a string. If @code{\word} is encountered, it is treated as
346 a keyword or as an identifier. The behavior of the modes differs in
347 two ways: Different modes treat unquoted words differently, and
348 different modes have different rules for deciding what is a word.
354 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
355 mode, a word is an alphabetic character followed by alphanumeric
356 characters. If @code{word} is encountered on the input it is
362 Note mode is introduced by the keyword
363 @code{\notes}@keyindex{notes}. In Note mode, words can only
364 contain alphabetic characters. If @code{word} is encountered,
365 LilyPond first checks for a notename of @code{word}. If no
366 notename is found, then @code{word} is treated as a string.
368 Since combinations of numbers and dots are used for indicating
369 durations, it is not possible to enter real numbers in this mode.
374 Chord mode is introduced by the keyword
375 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
376 words are also looked up in a chord modifier table (containing
377 @code{maj}, @code{dim}, etc).
379 Since combinations of numbers and dots are used for indicating
380 durations, you can not enter real numbers in this mode. Dashes
381 and carets are used to indicate chord additions and subtractions,
382 so scripts can not be entered in Chord mode.
387 Lyrics mode is introduced by the keyword
388 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
389 easy to include punctuation and diacritical marks in words. A
390 word in Lyrics mode begins with: an alphabetic character,
391 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
392 control characters @code{^A} through @code{^F}, @code{^Q} through
393 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
394 over 127, or a two-character combination of a backslash followed
395 by one of `@code{`}', `@code{'}', `@code{"}', or
396 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
397 enter lyrics in TeX format or a standard encoding without
398 needing quotes. The precise definition of this mode indeed is
399 ludicrous. This will remain so until the authors of LilyPond
400 acquire a deeper understanding of character encoding, or someone
401 else steps up to fix this.}
403 Subsequent characters of a word can be any character that is not
404 a digit and not white space. One important consequence of this
405 is that a word can end with `@code{@}}', which may be confusing if
406 you thought the closing brace was going to terminate Lyrics
407 mode.@footnote{LilyPond will issue a warning, though.} Any
408 `@code{_}' characters which appear in an unquoted word are
409 converted to spaces. This provides a mechanism for introducing
410 spaces into words without using quotes. Quoted words can also be
411 used in Lyrics mode to specify words that cannot be written with
412 the above rules. Here are some examples. Not all of these words
413 are printable by TeX.
420 2B_||_!2B % not a word because it starts with a digit
421 ``Hello'' % not a word because it starts with `
422 _ _ _ _ % 4 words, each one a space
427 Since combinations of numbers and dots are used for indicating
428 durations, you can not enter real numbers in this mode.
431 It is possible to create words that break the rules by prefixing them
432 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
433 word beginning with `@code{$}' extends until the next white space
434 character. Such words can contain numbers (even in Note mode), or
435 other forbidden characters. The dollar sign can be used to create
436 and access identifiers that could not otherwise be used.@footnote{Use
437 of `@code{$}' hampers readability and portability to future LilyPond
438 versions, thus the use of the dollar sign is discouraged.}
442 @node Types, , , Reference Manual
445 @cindex types and identifiers
447 @emph{Mudela} has a limited set of types:
453 @item music expressions
454 @item durations of notes and rests (specified with
455 @code{\notenames}@keyindex{notenames})
456 @item note name tables
457 @item context definitions, part of output definitions. See
458 section XREF-contextdefs [FIXME] for more information
459 @item output definitions (like @code{\paper}@keyindex{paper} blocks
460 and @code{\midi}@keyindex{midi} blocks)
461 @item score definitions (@code{\score}@keyindex{score} blocks)
464 Type is a syntactical property: @emph{Mudela} has no real type system,
465 so there is no support for generic expressions, functions, or user
466 defined types. For the same reason, it is not possible to mix reals
467 and integers in arithmetic expressions, and ``type
470 (e.g., using a string identifier to
471 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
474 Identifiers allow objects to be assigned to names. To assign an
475 identifier, you use `@var{name}=@var{value}' and to refer to an
476 identifier, you preceed its name with a backslash:
477 `@code{\}@var{name}'. Identifier assignments must appear at top level
478 in the @emph{Mudela} file. Semicolons are forbidden after assignments
479 appearing at top level but they are obligatory after assignments
480 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
482 @var{value} is any of the types listed above.
484 An identifier can be created with any string for its name, but you
485 will only be able to refer to identifiers whose names begin with a
486 letter, being entirely alphanumeric. It is impossible to refer to an
487 identifier whose name is the same as the name of a keyword.
489 The right hand side of an identifier assignment is parsed completely
490 before the assignment is done, so it is allowed to redefine an
491 identifier in terms of its old value, e.g.
497 When an identifier is referenced, the information it points to is
498 copied. Therefore it only makes sense to put identifiers for
499 translators, output definitions, and @code{\score}@keyindex{score}
500 blocks as the first item in a block. For this reason, if you
501 reference a @code{\foo} variable in a @code{\foo} block, it must be the
502 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
503 \two@}} does not make sense, because the information of @code{\two}
504 would overwrite the information of @code{\one}, thereby making the
505 reference to the first identifier useless.}
509 @node Music expressions, , , Reference Manual
510 @section Music expressions
512 @cindex music expressions
514 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
515 lyric syllables are music expressions (the atomic
517 @cindex atomic music expressions
518 , and you can combine
519 music expressions to form new ones. This example forms a compound
520 expressions out of the quarter @code{c} note and a @code{d}
524 \sequential @{ c4 d4 @}
527 The meaning of this compound expression is to play the `@code{c}'
528 first, and then the `@code{d}' (as opposed to playing them
529 simultaneously, for instance).
531 Atomic music expression are discussed in
532 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
533 discussed in subsection XREF-compoundmusic [FIXME].
537 @node Atomic music expressions, , , Reference Manual
538 @section Atomic music expressions
548 The syntax for pitch specification is
552 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
555 @var{octave} is specified by an integer, zero for the octave
556 containing middle C. @var{note} is a number from 0 to 7, with 0
557 corresponding to C and 7 corresponding to B. The shift is zero for a
558 natural, negative to add flats, or positive to add sharps.
560 In Note and Chord mode, pitches may be designated by names. See
561 section XREF-notelang [FIXME] for pitch names in different languages.
563 The syntax for duration specification is
566 \duration@keyindex{duration}
567 @{ @var{length} @var{dotcount} @}
570 @var{length} is the negative logarithm (base 2) of the duration:
571 1 is a half note, 2 is a quarter note, 3 is an eighth
572 note, etc. The number of dots after the note is given by
575 In Note, Chord, and Lyrics mode, durations may be designated by
576 numbers and dots. See Section XREF-notelang [FIXME] for details.
579 @node Note specification, , , Reference Manual
581 @cindex note specification
585 @cindex entering notes
587 A note specification has the form
590 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
593 The pitch of the note is specified by the note's name.
596 The default names are the Dutch note names. The notes are specified
597 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
598 octave below middle C and the letters span the octave above that C.
599 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
600 `@code{-is}' to the end of a pitch name. A flat is formed by adding
601 `@code{-es}'. Double sharps and double flats are obtained by adding
602 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
603 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
606 LilyPond has predefined sets of notenames for various languages. See
607 section XREF-notelang [FIXME] for details.
610 The optional octave specification takes the form of a series of
611 single quote (`@code{'}@indexcode{'}') characters or a series of comma
612 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
613 octave; each @code{,} lowers the pitch by an octave.
615 @mudela[fragment,verbatim,center]
616 c' d' e' f' g' a' b' c''
619 @mudela[fragment,verbatim,center]
620 cis' dis' eis' fis' gis' ais' bis'
623 @mudela[fragment,verbatim,center]
624 ces' des' es' fes' ges' as' bes'
627 @mudela[fragment,verbatim,center]
628 cisis' eisis' gisis' aisis' beses'
631 @mudela[fragment,verbatim,center]
632 ceses' eses' geses' ases' beses'
635 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
636 will determine what accidentals to typeset depending on the key and
637 context. A reminder accidental
638 @cindex reminder accidental
640 forced by adding an exclamation mark `@code{!}' after the pitch. A
641 cautionary accidental,
642 @cindex cautionary accidental
644 accidental within parentheses can be obtained by adding the question
645 mark `@code{?}@indexcode{?}' after the pitch.
647 @mudela[fragment,verbatim,center]
648 cis' d' e' cis' c'? d' e' c'!
654 Durations are entered as their reciprocal values. For notes longer
655 than a whole note, use identifiers.
661 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
670 \notes \relative c'' {
672 a1 a2 a4 a8 a16 a32 a64 a64
677 \remove "Clef_engraver";
678 \remove "Staff_symbol_engraver";
689 r1 r2 r4 r8 r16 r32 r64 r64
698 \notes \relative c'' {
700 r1 r2 r4 r8 r16 r32 r64 r64
703 loose_column_distance = 2.5 * \interline;
706 \type "Score_engraver";
708 \consists "Rest_engraver";
709 \consists "Stem_engraver";
710 \consists "Rhythmic_column_engraver";
717 If the duration is omitted then it is set equal to the previous
718 duration. If there is no previous duration, a quarter note is
719 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
720 to obtain dotted note lengths.
722 @mudela[fragment,verbatim,center]
726 You can alter the length of duration by writing
727 `@code{*}@var{fraction}' after it. This will not affect the
728 appearance of note heads or rests.
731 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
732 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
733 which produces a space of the specified duration.
734 `@code{R}' is specifically meant for entering parts: the @code{R} rest
735 can expand to fill a score with rests, or it can be printed as a
736 single multimeasure rest.
739 @cindex lyrics expressions
741 Syllables are entered like notes, with pitches replaced by text. For
742 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
743 with quarter note duration. Note that the hyphen has no special
744 meaning for lyrics, and does not introduce special symbols. See
745 section XREF-modes [FIXME] for a description of what is interpreted as
748 Spaces can be introduced into a lyric either by using quotes
749 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
750 not4}'. All unquoted underscores are converted to spaces. Printing
751 lyrics is discussed in section XREF-lyricprint [FIXME].
758 \property@keyindex{property}
759 @var{contextname}.@var{propname} = @var{value}
762 Sets the @var{propname} property of the context @var{contextname} to
763 the specified @var{value}. All three arguments are strings.
764 Depending on the context, it may be necessary to quote the strings or
765 to leave space on both sides of the dot.
769 @cindex translator switches
772 \translator@keyindex{translator}
773 @var{contexttype} = @var{name}
776 A music expression indicating that the context which is a direct
777 child of the a context of type @var{contexttype} should be shifted to
778 a context of type @var{contexttype} and the specified name.
780 Usually this is used to switch staffs in Piano music, e.g.
783 \translator Staff = top @var{Music}
787 @cindex output properties
790 These allow you to tweak what is happening in the back-end
791 directly. If you want to control every detail of the output
792 formatting, this is the feature to use. The downside to this is that
793 you need to know exactly how the backend works. Example:
796 @mudela[fragment,verbatim]
798 \context Staff \outputproperty
799 #(make-type-checker 'Note_head)
800 #'extra-offset = #'(5.0 . 7.5)
804 This selects all note heads occurring at current staff level, and sets
805 the extra-offset of those heads to (5,7.5), shifting them up and
808 Use of this feature is entirely on your own risk: if you use this, the
809 result will depend very heavily on the implentation of the backend,
810 which we change unscrupulously.
817 Commands are music expressions that have no duration.
822 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
825 Change the key signature. @var{type} should be
826 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively. The second
828 argument is optional; the default is major keys. The @var{\context}
829 argument can also be given as an integer, which tells the number of
830 semitones that should be added to the pitch given in the subsequent
831 @code{\key}@keyindex{key} commands to get the corresponding major key,
832 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
833 mode names @code{\ionian}@keyindex{ionian},
834 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
835 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
836 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
841 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
844 Specify an arbitrary key signature. The pitches from @var{pitch} will
845 be printed in the key signature in the order that they appear on the
850 \mark@keyindex{mark} @var{unsigned};
854 Prints a mark over or under (depending on the
855 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
856 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
859 @node barlines, , , Reference Manual
862 \bar@keyindex{bar} @var{bartype};
865 This is a request to print a special bar symbol. It replaces the
866 regular bar symbol with a special
867 symbol. The argument @var{bartype} is a string which specifies the
868 kind of bar to print. Options are @code{":|"}
869 @cindex "|A@@@code{:|}
872 @cindex "|B@@@code{|:}
874 @cindex "|C@@@code{:|:}
877 @cindex "|D@@@code{||}
879 @cindex "|E@@@code{|.}
882 @cindex "|F@@@code{.|}
884 @cindex "|G@@@code{.|.}
886 These produce, respectively, a right repeat, a left repeat, a double
887 repeat, a double bar, a start bar, an end bar, and a thick double
888 bar. If @var{bartype} is set to @code{"empty"} then nothing is
889 printed, but a line break is allowed at that spot.
891 You are encouraged to use @code{\repeat} for repetitions.
892 See section XREF-sec-repeats [FIXME].
899 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
902 Change the time signature. The default time signature is 4/4.
903 The time signature is used to generate bar lines.
907 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
910 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
911 requests output with 76 quarter notes per minute.
915 \partial@keyindex{partial} @var{duration} @code{;}
922 This creates an incomplete measure (anacrusis, upbeat) at the start of
923 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
924 lasting two eighth notes.
928 @code{|}@indexcode{|}
933 @cindex shorten measures
937 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
938 interpretation, a warning message is issued if it doesn't fall at a
939 measure boundary. This can help you finding errors in the input.
940 The beginning of the measure will be relocated, so this can also
941 be used to shorten measures.
946 \penalty@keyindex{penalty} @var{int} @code{;}
949 Discourage or encourage line breaks. See identifiers
950 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
951 section [on identifiers] [FIXME].
955 \clef@keyindex{clef} @var{clefname} @code{;}
958 Music expression that sets the current clef. The argument is a
959 string which specifies the name of the clef. Several clef names are
960 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
961 name, then the clef lowered or raised an octave will be generated.
962 Here are the supported clef names with middle C shown in each
971 %\property Voice.textStyle = typewriter
972 \clef subbass; c'4-"\kern -5mm subbass"
973 \clef bass; c'4^"\kern -2mm bass"
974 \clef baritone; c'4_"\kern -5mm baritone"
975 \clef varbaritone; c'4^"\kern -6mm varbaritone"
976 \clef tenor; c'4_"\kern -3mm tenor"
977 \clef "G_8"; c'4^"\kern -2mm G\\_8"
992 \clef alto; c'4_"\kern -2mm alto"
993 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
994 \clef soprano; c'4_"\kern -6mm soprano"
995 \clef treble; c'4^"\kern -4mm treble"
996 \clef french; c'4_"\kern -4mm french"
1005 The three clef symbols can also be obtained using the names `@code{G}',
1006 `@code{C}' or `@code{F}', optionally followed by an integer which
1007 indicates at which note line the clef is located. An as example, the
1008 @code{mezzosoprano} clef can also be given as `@code{C2}'.
1012 \skip@keyindex{skip} @var{duration} @code{;}
1015 Skips the amount of time specified by @var{duration}. If no other
1016 music is played, a gap will be left for the skipped time with no
1017 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1018 this has the same effect as the space rest `@code{s}'.
1023 @node Manual beams, , , Reference Manual
1025 A beam is specified by surrounding the beamed notes with brackets
1026 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1028 @mudela[fragment,verbatim,center]
1029 [a'8 a'] [a'16 a' a' a']
1032 Some more elaborate constructions:
1034 @mudela[fragment,verbatim,center]
1035 [a'16 <a' c''> c'' <a' c''>]
1036 \times 2/3 { [e'8 f' g'] }
1039 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1041 To place tremolo marks
1042 @cindex tremolo beams
1043 between two notes, begin
1044 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1045 will appear instead of beams. Putting more than two notes in such a
1046 construction will produce odd effects. To create tremolo beams on a
1047 single note, simply attach `@code{:}@var{length}' to the note itself
1048 (see also section XREF-tremolo [FIXME]).
1051 @mu dela[fragment,verbatim,center]
1052 [:16 e'1 g'] [:8 e'4 f']
1055 @mud ela[fragment,verbatim,center]
1056 c'4:32 [:16 c'8 d'8]
1060 @cindex --@@@code{-}@code{-}
1068 The syntax for an extender mark is `@code{__}'. This syntax can only
1069 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1070 a hyphen that will be printed between two lyric syllables) is
1076 A tie connects two adjacent note heads of the same pitch. When used
1077 with chords, it connects all of the note heads whose pitches match.
1078 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1079 If you try to tie together chords which have no common pitches, a
1080 warning message will appear and no ties will be created.
1082 @mudela[fragment,verbatim,center]
1083 e' ~ e' <c' e' g'> ~ <c' e' g'>
1088 [TODO: explain Requests]
1091 @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.
1110 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1111 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1112 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1113 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1114 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1115 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1116 c''-\thumb c''-\segno c''-\coda
1118 \context Lyrics \lyrics {
1119 accent__ marcato__ staccatissimo__ fermata
1120 stopped__ staccato__ tenuto__ upbow
1121 downbow__ lheel__ rheel__ ltoe
1122 rtoe__ turn__ open__ flageolet
1123 reverseturn__ trill__ prall__ mordent
1124 prallprall__ prallmordent__ uprall__ downprall
1125 thumb__ segno__ coda
1129 linewidth = 5.875\in;
1136 In addition, it is possible to place arbitrary strings of text or
1137 TeX above or below notes by using a string instead of an
1138 identifier: `@code{c^"text"}'. Fingerings
1141 placed by simply using digits. All of these note ornaments appear in
1142 the printed output but have no effect on the MIDI rendering of the
1145 To save typing, fingering instructions (digits 0 to 9 are
1146 supported) and single characters shorthands exist for a few
1153 \property Voice.textStyle = typewriter
1159 c''4-^_"c-\\^{ }" s4
1166 linewidth = 5.875 \in;
1173 Dynamic marks are specified by using an identifier after a note:
1174 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1175 The available dynamic marks are:
1176 @code{\ppp}@keyindex{ppp},
1177 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1178 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1179 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1180 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1181 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1182 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1183 @code{\rfz}@keyindex{rfz}.
1188 \textscript@keyindex{textscript} @var{text} @var{style}
1191 Defines a text to be printed over or under a note. @var{style} is a
1192 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1193 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1195 You can attach a general textscript request using this syntax:
1200 c4-\textscript "6" "finger"
1201 c4-\textscript "foo" "normal"
1206 This is equivalent to `@code{c4-6 c4-"foo"}'.
1213 \script@keyindex{script} @var{alias}
1216 Prints a symbol above or below a note. The argument is a string
1217 which points into the script-alias table defined in @file{script.scm}.
1218 The scheme definitions specify whether the symbol follows notes into
1219 the staff, dependence of symbol placement on staff direction, and a
1220 priority for placing several symbols over one note. Usually the
1221 @code{\script}@keyindex{script} keyword is not used directly. Various
1222 helpful identifier definitions appear in @file{script.ly}.
1227 Slurs connects chords and try to avoid crossing stems. A slur is
1228 started with `@code{(}' and stopped with `@code{)}'. The
1229 starting `@code{(}' appears to the right of the first note in
1230 the slur. The terminal `@code{)}' appears to the left of the
1231 first note in the slur. This makes it possible to put a note in
1232 slurs from both sides:
1234 @mudela[fragment,verbatim,center]
1235 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1241 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1242 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1243 @code{\decr}@keyindex{decr} and terminated with
1244 @code{\rced}@keyindex{rced}. There are also shorthands for these
1245 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1246 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1247 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1248 must go before the last note of the dynamic mark whereas @code{\rc}
1249 and @code{\rced} go after the last note. Because these marks are
1250 bound to notes, if you want to get several marks during one note, you
1251 must use spacer notes.
1253 @mudela[fragment,verbatim,center]
1254 c'' \< \! c'' d'' \decr e'' \rced
1255 < f''1 { s4 \< \! s2 \> \! s4 } >
1261 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1264 Define a spanning request. The @var{startstop} parameter is either -1
1265 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1266 @var{type} is a string that describes what should be started.
1267 Supported types are @code{crescendo}, @code{decrescendo},
1268 @code{beam}, @code{slur}. This is an internal command. Users should
1269 use the shorthands which are defined in the initialization file
1272 You can attach a (general) span request to a note using
1274 @mudela[fragment,verbatim,center]
1275 c'4-\spanrequest \start "slur"
1276 c'4-\spanrequest \stop "slur"
1279 The slur syntax with parentheses is a shorthand for this.
1283 @cindex tremolo marks
1285 @node tremolo, , , Reference Manual
1287 Tremolo marks can be printed on a single note by adding
1288 `@code{:}[@var{length}]' after the note. The length must be at
1289 least 8. A @var{length} value of 8 gives one line across
1290 the note stem. If the length is omitted, then the last value is
1291 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1294 @mudela[verbatim,fragment,center]
1300 @node Compound music expressions, , , Reference Manual
1301 @section Compound music expressions
1303 @cindex compound music expressions
1305 Music expressions are compound data structures. You can nest music
1306 expressions any way you like. This simple example shows how three
1307 chords can be expressed in two different ways:
1309 @mudela[fragment,verbatim,center]
1310 \notes \context Staff {
1312 <a c'> <b d' > <c' e'>
1313 < { a b c' } { c' d' e' } >
1317 @cindex context selection
1318 @c @keyindex{context}
1321 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1324 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1325 If the context does not exist, it will be created. The new context
1326 can optionally be given a name. See
1327 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1328 information on interpretation contexts.
1336 Mode switching keywords form compound music expressions: @code{\notes}
1337 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1338 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1339 These expressions do not add anything to the meaning of their
1340 arguments. They are just a way to indicate that the arguments should
1341 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1342 information on modes.
1344 More information on context selection can be found in
1345 section XREF-contextselection [FIXME].
1349 @cindex sequential music
1355 \sequential@keyindex{sequential}
1356 @code{@{} @var{musicexprlist} @code{@}}
1359 This means that list should be played or written in sequence, i.e.,
1360 the second after the first, the third after the second. The duration
1361 of sequential music is the the sum of the durations of the elements.
1362 There is a shorthand, which leaves out the keyword:
1366 @code{@{} @var{musicexprlist} @code{@}}
1371 @cindex simultaneous music
1378 \simultaneous@keyindex{simultaneous}
1379 @code{@{} @var{musicexprlist} @code{@}}
1382 It constructs a music expression where all of its arguments start at
1383 the same moment. The duration is the maximum of the durations of the
1384 elements. The following shorthand is a common idiom:
1388 @code{<} @var{musicexprlist} @code{>}
1391 If you try to use a chord as the first thing in your score, you might
1392 get multiple staffs instead of a chord.
1394 @mudela[verbatim,center]
1403 This happens because the chord is interpreted by a score context.
1404 Each time a note is encountered a default Voice context (along with a
1405 Staff context) is created. The solution is to explicitly instantiate
1408 @mudela[verbatim,center]
1410 \notes\context Voice <c''4 e''>
1419 @cindex relative pitch specification
1421 @node relative, , , Reference Manual
1423 It is easy to get confused by octave changing marks and accidentally
1424 putting a pitch in the wrong octave. A much better way of entering a
1425 note's octave is `the relative octave' mode.
1429 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1432 The octave of notes that appear in @var{musicexpr} are calculated as
1433 follows: If no octave changing marks are used, the basic interval
1434 between this and the last note is always taken to be a fourth or
1435 less.@footnote{The interval is determined without regarding
1436 accidentals. A @code{fisis} following a @code{ceses} will be put above
1437 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1438 can then be added to raise or lower the pitch by an extra octave.
1439 Upon entering relative mode, an absolute starting pitch must be
1440 specified that will act as the predecessor of the first note of
1443 Entering scales is straightforward in relative mode.
1445 @mudela[fragment,verbatim,center]
1451 And octave changing marks are used for intervals greater than a fourth.
1453 @mudela[fragment,verbatim,center]
1455 c g c f, c' a, e'' }
1458 If the preceding item is a chord, the first note of the chord is used
1459 to determine the first note of the next chord. But other notes
1460 within the second chord are determined by looking at the immediately
1463 @mudela[fragment,verbatim,center]
1471 The pitch after the @code{\relative} contains a notename. To parse
1472 the pitch as a notename, you have to be in note mode, so there must
1473 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1476 The relative conversion will not affect @code{\transpose} or
1477 @code{\relative} sections in its argument. If you want to use
1478 relative within transposed music, you must place an additional
1479 @code{\relative} inside the @code{\transpose}.
1481 It is strongly recommended to use relative pitch mode: less work,
1482 less error-prone, and more readable.
1486 Chord names are a way to generate simultaneous music expressions that
1487 correspond with traditional chord names. It can only be used in
1488 Chord mode (see section XREF-modes [FIXME]).
1492 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1495 @var{tonic} should be the tonic note of the chord, and @var{duration}
1496 is the chord duration in the usual notation. There are two kinds of
1497 modifiers. One type is @emph{chord additions}, which are obtained by
1498 listing intervals separated by dots. An interval is written by its
1499 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1500 lowering by half a step. Chord additions has two effects: It adds
1501 the specified interval and all lower odd numbered intervals to the
1502 chord, and it may lower or raise the specified interval. Intervals
1503 must be separated by a dot (`@code{.}').
1507 @mudela[fragment,verbatim]
1511 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1518 The second type of modifier that may appear after the `@code{:}' is a
1519 named modifier. Named modifiers are listed in the file
1520 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1521 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1522 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1523 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1524 which replaces the 5th with a 4th.
1528 @mudela[fragment,verbatim]
1531 c1:m c:min7 c:maj c:aug c:dim c:sus
1539 Chord subtractions are used to eliminate notes from a chord. The
1540 notes to be subtracted are listed after a `@code{^}' character,
1543 @mudela[fragment,verbatim,center]
1551 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1552 the name of a single note to a chord. This has the effect of
1553 lowering the specified note by an octave so it becomes the lowest
1554 note in the chord. If the specified note is not in the chord, a
1555 warning will be printed.
1557 @mudela[fragment,verbatim,center]
1566 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1567 the name of a single note to a chord. This has the effect of
1568 adding the specified note to the chord, lowered by an octave,
1569 so it becomes the lowest note in the chord.
1571 @mudela[fragment,verbatim,center]
1580 Throughout these examples, chords have been shifted around the staff
1581 using @code{\transpose}.
1583 You should not combine @code{\relative} with named chords.
1589 Tuplets are made out of a music expression by multiplying their
1590 duration with a fraction.
1594 \times@keyindex{times} @var{fraction} @var{musicexpr}
1597 The duration of @var{musicexpr} will be multiplied by the fraction.
1598 In print, the fraction's denominator will be printed over the notes,
1599 optionally with a bracket. The most common tuplet is the triplet in
1600 which 3 notes have the length of 2, so the notes are 2/3 of
1601 their written length:
1603 @mudela[fragment,verbatim,center]
1604 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1613 \grace@keyindex{grace} @var{musicexpr}
1616 A grace note expression has duration 0; the next real note is
1617 assumed to be the main note.
1619 You cannot have the grace note after the main note, in terms of
1620 duration, and main notes, but you can typeset the grace notes to the
1621 right of the main note using the property
1622 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1624 When grace music is interpreted, a score-within-a-score is set up:
1625 @var{musicexpr} has its own time bookkeeping, and you could (for
1626 example) have a separate time signature within grace notes. While in
1627 this score-within-a-score, you can create notes, beams, slurs, etc.
1628 Unbeamed eighth notes and shorter by default have a slash through the
1629 stem. This behavior can be controlled with the
1630 @code{stemStyle}@indexcode{stemStyle} property.
1634 @mudela[fragment,verbatim]
1636 \grace c8 c4 \grace { [c16 c16] } c4
1637 \grace { \property Grace.stemStyle = "" c16 } c4
1643 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1647 @code{\grace @{ \grace c32 c16 @} c4}
1650 may result in run-time errors of LilyPond. Since the meaning of such
1651 a construct is unclear, we don't consider this a loss. Similarly,
1652 juxtaposing two @code{\grace} sections is syntactically valid, but
1653 makes no sense and may cause runtime errors.
1655 Ending a staff or score with grace notes may also generate a run-time
1656 error, since there will be no main note to attach the grace notes to.
1662 @node Repeats, , , Reference Manual
1664 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1665 keyword. Since repeats look and sound differently when played or
1666 printed, there are a few different variants of repeats.
1670 Repeated music is fully written (played) out. Useful for MIDI
1674 This is the normal notation: Repeats are not written out, but
1675 alternative endings (voltas) are printed, left to right.
1678 Alternative endings are written stacked, which is useful for
1682 The syntax for repeats is
1686 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1689 If you have alternative endings, you may add
1693 \alternative@keyindex{alternative}
1694 @code{@{} @var{alternative1}
1696 @var{alternative3} @dots{} @code{@}}
1699 where each @var{alternative} is a Music expression.
1701 Normal notation repeats are used like this:
1705 @mudela[fragment,verbatim]
1707 \repeat volta 2 { c'4 d' e' f' }
1708 \repeat volta 2 { f' e' d' c' }
1713 With alternative endings:
1717 @mudela[fragment,verbatim]
1719 \repeat volta 2 {c'4 d' e' f'}
1720 \alternative { {d'2 d'} {f' f} }
1725 Folded repeats look like this:@footnote{Folded repeats offer little
1726 more over simultaneous music. However, it is to be expected that
1727 more functionality -- especially for the MIDI backend -- will be
1732 @mudela[fragment,verbatim]
1734 \repeat fold 2 {c'4 d' e' f'}
1735 \alternative { {d'2 d'} {f' f} }
1742 @mudela[fragment,verbatim]
1746 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1747 \alternative { { g4 g g } { a | a a a a | b1 } }
1754 If you don't give enough alternatives for all of the repeats, then
1755 the first alternative is assumed to be repeated often enough to equal
1756 the specified number of repeats.
1760 @mudela[fragment,verbatim]
1763 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1764 \alternative { { g4 g g }
1765 {\partial 1; e4 e e }
1766 {\partial 1; a a a a | b1 } }
1773 It is possible to nest @code{\repeat}. This is not entirely
1774 supported: the notes will come be in the right places, but the repeat
1779 @cindex transposition of pitches
1781 @node transpose, , , Reference Manual
1783 A music expression can be transposed with
1784 @code{\transpose}@keyindex{transpose}. The syntax is
1788 \transpose @var{pitch} @var{musicexpr}
1791 This means that middle C in @var{musicexpr} is transposed to
1794 @code{\transpose} distinguishes between enharmonic pitches: both
1795 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1796 a tone. The first version will print sharps and the second version
1801 @mudela[fragment,verbatim]
1806 \transpose des'' { \key e; c d e f }
1807 \transpose cis'' { \key e; c d e f }
1813 If you want to use both @code{\transpose} and @code{\relative}, then
1814 you must use @code{\transpose} first. @code{\relative} will have no
1815 effect music that appears inside a @code{\transpose}.
1819 @cindex automatic lyric durations
1821 If you have lyrics that are set to a melody, you can import the
1822 rhythm of that melody into the lyrics using @code{\addlyrics}.
1823 @keyindex{addlyrics} The syntax for this is
1827 \addlyrics @var{musicexpr1 musicexpr2}
1830 This means that both @var{musicexpr1} and @var{musicexpr2} are
1831 interpreted, but that every non-command atomic music expression
1832 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1833 of @var{musicexpr1}.
1835 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1836 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1841 @mudela[verbatim,fragment]
1844 \property Voice.automaticMelismata = "1"
1845 c8 () cis d8. e16 f2
1847 \context Lyrics \lyrics {
1853 You should use a single rhythm melody, and single rhythm lyrics (a
1854 constant duration is the obvious choice). If you do not, you will get
1855 undesired effects when using multiple stanzas:
1859 @mudela[verbatim,fragment]
1862 c8 () cis d8. e16 f2
1864 \context Lyrics \lyrics
1871 It is valid (but probably not very useful) to use notes instead of
1872 lyrics for @var{musicexpr2}.
1877 @node Ambiguities, , , Reference Manual
1878 @section Ambiguities
1882 The grammar contains a number of ambiguities.@footnote{The authors
1883 hope to resolve them at a later time.}
1886 @item The assignment
1892 can be interpreted as making a string identifier @code{\foo}
1893 containing @code{"bar"}, or a music identifier @code{\foo}
1894 containing the syllable `bar'.
1896 @item The assignment
1902 can be interpreted as making an integer identifier
1903 containing -6, or a Request identifier containing the
1904 fingering `6' (with neutral direction).
1906 @item If you do a nested repeat like
1918 then it is ambiguous to which @code{\repeat} the
1919 @code{\alternative} belongs. This is the classic if-then-else
1920 dilemma. It may be solved by using braces.
1922 @item (an as yet unidentified ambiguity :-)
1927 @node Notation conversion specifics, , , Reference Manual
1928 @section Notation conversion specifics
1932 @cindex automatic beam generation
1934 @node autobeam, , , Reference Manual
1936 By default, LilyPond will generate beams automatically. This feature
1937 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1938 property to 1. It can be overridden for specific cases by
1939 specifying explicit beams as described in
1940 section XREF-manualbeam [FIXME].
1942 A large number of Voice properties are used to decide how to generate
1943 beams. Their default values appear in @file{auto-beam-settings.ly}.
1944 In general, beams can begin anywhere, but their ending location is
1945 significant. Beams can end on a beat, or at durations specified by
1946 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1947 quarter note, for example, you could set
1948 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1949 at every three eighth notes you would set it to `@code{"3/8"}'. The
1950 same syntax can be used to specify beam starting points using
1951 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1953 To allow different settings for different time signatures, these
1954 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1955 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1956 to specify beams ending only for 6/8 time you would use the
1957 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1958 for notes of different durations, the duration can be tacked onto the
1959 end of the property. To specify beam endings for beams that contain
1960 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1968 @cindex printing!chord names
1970 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1971 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1972 either using the notation described above, or directly using
1977 @mudela[fragment,verbatim]
1979 \context ChordNames {
1980 \chords{a b c} \notes{<d f g> <e g b>}
1982 \context Staff \notes {
1990 LilyPond examines chords specified as lists of notes to determine a
1991 name to give the chord. By default, LilyPond will not try to
1992 identify chord inversions:
1994 @mudela[fragment,verbatim,center]
1996 \context ChordNameVoice \notes {
1999 \context Thread \notes {
2005 If you want inversions to be recognized, you must set the property
2006 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
2008 @mudela[fragment,verbatim,center]
2010 \property Score.chordInversion = 1
2011 \context ChordNameVoice \notes {
2014 \context Thread \notes {
2024 @cindex printing!lyrics
2026 @node lyricprint, , , Reference Manual
2028 Lyric syllables must be interpreted within a @code{Lyrics} context
2030 @cindex context!Lyrics
2033 Here is a full example:
2040 \notes \transpose c'' {
2042 e f g2 | e4 f g2 \bar "|.";
2044 \context Lyrics \lyrics {
2045 Va-4 der Ja- cob Va- der Ja- cob
2046 Slaapt gij nog?2 Slaapt4 gij nog?2
2054 You may want a continuous line after the syllables to show melismata.
2055 To achieve this effect, add a `@code{__}' lyric as a separate word
2056 after the lyric to be extended. This will create an extender, a line
2057 that extends over the entire duration of the lyric. This line will
2058 run all the way to the start of the next lyric, so you may want to
2059 shorten it by using a blank lyric (using `@code{_}').
2066 \notes \relative c'' {
2067 a4 () b () c () d | c () d () b () a | c () d () b () a
2069 \context Lyrics \lyrics {
2070 foo1 __ | bar2. __ _4 | baz1 __
2079 If you want to have hyphens centered between syllables (rather than
2080 attached to the end of the first syllable) you can use the special
2081 `@code{-}@code{-}' lyric as a separate word between syllables. This
2082 will result in a hyphen which length varies depending on the space
2083 between syllables, and which will be centered between the syllables.
2091 \notes \transpose c'' {
2093 e f g2 | e4 f g2 \bar "|.";
2095 \context Lyrics \lyrics {
2096 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2097 Slaapt gij nog?2 | Slaapt4 gij nog?2
2107 @node Notation Contexts, , , Reference Manual
2108 @section Notation Contexts
2110 @cindex notation contexts
2112 Notation contexts are objects that only exist during a run of
2113 LilyPond. During the interpretation phase of LilyPond, the Music
2114 expression contained in a @code{\score} block is interpreted in time
2115 order. This is the order in which humans read, play, and write
2118 A context is an object that holds the reading state of the
2119 expression; it contains information like
2122 @item What notes are playing at this point?
2123 @item What symbols will be printed at this point?
2124 @item In what style will they printed?
2125 @item What is the current key signature, time signature, point within
2129 Contexts are grouped hierarchically: A @code{Voice} context is
2130 contained in a @code{Staff} context (because a staff can contain
2131 multiple voices at any point), a @code{Staff} context is contained in
2132 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2133 these can all contain multiple staffs).
2135 Contexts associated with sheet music output are called @emph{notation
2136 contexts}, those for sound output are called playing contexts.
2138 Contexts are created either manually or automatically. Initially,
2139 the top level music expression is interpreted by the top level
2140 context (the @code{Score} context). When a atomic music expression
2141 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2142 set of contexts is created that can process these atomic expressions,
2148 \score @{ \notes < c4 > @}
2153 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2154 context. When the note `@code{c4}' itself is interpreted, a set of
2155 contexts is needed that will accept notes. The default for this is a
2156 @code{Voice} context, contained in a @code{Staff} context. Creation of
2157 these contexts results in the staff being printed.
2162 You can also create contexts manually, and you probably have to do so
2163 if you want to typeset complicated multiple part material. If a
2164 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2165 during the interpretation phase, the @var{musicexpr} argument will be
2166 interpreted with a context of type @var{name}. If you specify a name,
2167 the specific context with that name is searched.
2169 If a context of the specified type and name can not be found, a new
2170 one is created. For example,
2176 \notes \relative c'' {
2177 c4 <d4 \context Staff = "another" e4> f
2184 In this example, the @code{c} and @code{d} are printed on the
2185 default staff. For the @code{e}, a context Staff called
2186 `@code{another}' is specified; since that does not exist, a new
2187 context is created. Within @code{another}, a (default) Voice context
2188 is created for the @code{e4}. When all music referring to a
2189 context is finished, the context is ended as well. So after the
2190 third quarter, @code{another} is removed.
2192 Almost all music expressions inherit their interpretation context
2193 from their parent. In other words, suppose that the syntax for a
2198 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2201 When the interpretation of this music expression starts, the context
2202 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2205 Lastly, you may wonder, why this:
2211 \notes \relative c'' @{
2219 doesn't result in this:
2224 \notes \relative c'' {
2231 For the @code{c4}, a default @code{Staff} (with a contained
2232 @code{Voice}) context is created. After the @code{c4} ends, no
2233 music refers to this default staff, so it would be ended, with the
2234 result shown. To prevent this inconvenient behavior, the context to
2235 which the sequential music refers is adjusted during the
2236 interpretation. So after the @code{c4} ends, the context of the
2237 sequential music is also the default @code{Voice} context.
2238 The @code{d4} gets interpreted in the same context
2243 These are the contexts supplied with the package. They are defined
2244 in the initialization file @file{ly/engraver.ly}.
2247 @item @code{Grace}@indexcode{Grace}
2248 The context for handling grace notes. It is instantiated
2249 automatically when you use @code{\grace}. Basically, it is an
2250 `embedded' miniature of the Score context. Since this context
2251 needs special interaction with the rest of LilyPond, you should
2252 not explicitly instantiate it.
2254 @item @code{LyricVoice}@indexcode{LyricVoice}
2255 Corresponds to a voice with lyrics. Handles the printing of a
2256 single line of lyrics.
2258 @item @code{Thread}@indexcode{Thread}
2259 Handles note heads, and is contained in the Voice context. You
2260 have to instantiate this explicitly if you want to adjust the
2261 style of individual note heads.
2263 @item @code{Voice}@indexcode{Voice}
2264 Corresponds to a voice on a staff. This context handles the
2265 conversion of dynamic signs, stems, beams, super- and subscripts,
2266 slurs, ties, and rests.
2268 You have to instantiate this explicitly if you want to have
2269 multiple voices on the same staff.
2271 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2272 A voice with chord names. Handles printing of a line of chord
2275 @item @code{ChordNames}@indexcode{ChordNames}
2276 Typesets chord names. Can contain @code{ChordNamesVoice}
2279 @item @code{Lyrics}@indexcode{Lyrics}
2280 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2282 @item @code{Staff}@indexcode{Staff}
2283 Handles clefs, bar lines, keys, accidentals. It can contain
2284 @code{Voice} contexts.
2286 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2287 A context like @code{Staff} but for printing rhythms. Pitches are
2288 ignored; the notes are printed on one line. It can contain
2289 @code{Voice} contexts.
2291 @item @code{GrandStaff}@indexcode{GrandStaff}
2292 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2293 brace on the left side, grouping the staffs together. The bar
2294 lines of the contained staffs are connected vertically. It can
2295 contain @code{Staff} contexts.
2297 @item @code{PianoStaff}@indexcode{PianoStaff}
2298 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2299 equal to @code{maxVerticalAlign} so that interstaff beaming and
2300 slurring can be used.
2302 @item @code{StaffGroup}@indexcode{StaffGroup}
2303 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2304 bracket on the left side, grouping the staffs together. The bar
2305 lines of the contained staffs are connected vertically. It can
2306 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2307 @code{Lyrics} contexts.
2309 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2310 Identical to @code{StaffGroup} except that the contained staffs
2311 are not connected vertically.
2313 @item @code{Score}@indexcode{Score}
2314 This is the top level notation context. No other context can
2315 contain a @code{Score} context. This context handles the
2316 administration of time signatures. It also makes sure that items
2317 such as clefs, time signatures, and key-signatures are aligned
2318 across staffs. It can contain @code{Lyrics}, @code{Staff},
2319 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2320 @code{ChoirStaff} contexts.
2322 You cannot explicitly instantiate a Score context (since it is
2323 not contained in any other context). It is instantiated
2324 automatically when an output definition (a @code{\score} or
2325 @code{\paper} block) is processed.
2330 Properties that are set in one context are inherited by all of the
2331 contained contexts. This means that a property valid for the
2332 @code{Voice} context can be set in the @code{Score} context (for
2333 example) and thus take effect in all @code{Voice} contexts.
2335 Properties can be preset within the @code{\translator} block
2336 corresponding to the appropriate context. In this case, the syntax
2341 @var{propname} @code{=} @var{value}
2344 This assignment happens before interpretation starts, so a
2345 @code{\property} expression will override any predefined settings.
2347 The @code{\property} expression will create any property you specify.
2348 There is no guarantee that a property will be used. So if you spell
2349 a property name wrong, there will be no error message.
2351 The property settings are used during the interpretation phase. They
2352 are read by the LilyPond modules where interpretation contexts are
2353 built of. These modules are called @emph{translators}. Translators for
2354 notation are called @emph{engravers}, and translators for sound are
2355 called @emph{performers}.
2357 The precise result of a property is determined by the implementation
2358 of the translator that reads them. Therefore, the result of a
2359 property can vary, since it is implementation and configuration
2362 In order to fully find out what properties are used, you must
2363 currently search the source code for calls to @code{get_property}.
2364 The rest of the section is devoted to an (incomplete) overview of
2365 available properties.
2367 @mbinclude properties.itely
2369 @node Notation output definitions, , , Reference Manual
2370 @section Notation output definitions
2374 @cindex notation output
2376 @cindex output definition
2378 @node paper, , , Reference Manual
2380 The most important output definition is the @code{\paper} block, for
2381 music notation. The syntax is
2385 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2388 where each of the items is one of
2391 @item An assignment. The assignment must be terminated by a
2392 semicolon. See section XREF-papervars [FIXME] for information on
2395 @item A context definition. See section XREF-contextdefs [FIXME] for
2396 more information on context definitions.
2401 A margin shape declaration. The syntax is
2405 \shape @var{indent1}@code{,} @var{width1}@code{,}
2406 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2411 Each pair of @var{indent} and @var{width} values is a dimension
2412 specifying how far to indent and how wide to make the line.
2413 The indentation and width of successive lines are specified by
2414 the successive pairs of dimensions. The last pair of
2415 dimensions will define the characeristics of all lines beyond
2416 those explicitly specified.
2418 @item A font declaration. Its syntax is
2422 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2425 @var{fontsize} is an integer describing the font to be used.
2426 0 is the default font. @var{fontname} is the basename of
2427 a font (usually a member of the Feta family).
2432 @cindex changing font size and paper size
2434 The Feta font provides musical symbols at six different sizes. These
2435 fonts are 11 point, 13 point, 16 point, 20 point,
2436 23 point, and 26 point. The point size of a font is the
2437 height of the five lines in a staff when displayed in the font.
2439 Definitions for these sizes are the files @file{paperSZ.ly}, where
2440 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2441 any of these files, the identifiers @code{paper_eleven},
2442 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2443 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2444 respectively. The default @code{\paper} block is also set.
2446 To change the paper size, you must first set the
2447 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2448 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2449 you must set the font as described above. If you want the default
2450 font, then use the 20 point font. The new paper size will not
2451 take effect if the font is not loaded and selected afterwards. Paper
2452 size selection works by loading a file named after the paper size you
2457 @cindex paper variables
2459 @node Paper variables, , , Reference Manual
2461 There is a large number of paper variables that are used to control
2462 details of the layout. These variables control the defaults for the
2463 entire score. Usually, they do not have to be changed; they are by
2464 default set to values that depend on the font size in use. The
2465 values are used by the graphic objects while formatting the score;
2466 they are therefore implementation dependent. Most variables are
2467 accompanied by documentation in the initalization file
2468 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2471 Nevertheless, here are some variables you may want to use or change:
2474 @item @code{indent}@indexcode{indent}
2475 The indentation of the first line of music.
2477 @item @code{interline}@indexcode{interline}
2478 The distance between two staff lines, calculated from the center
2479 of the lines. You should use either this or @code{rulethickness}
2480 as a unit for distances you modify.
2482 @item @code{linewidth}@indexcode{linewidth}
2483 Sets the width of the lines. If set to -1.0, a single
2484 unjustified line is produced.
2486 @item @code{output}@indexcode{output}
2487 Specifies an alternate name for the the output @file{s}.
2488 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2489 added to the string you specify.
2491 @item @code{rulethickness}@indexcode{rulethickness}
2492 Determines the thickness of staff and bar lines.
2496 @node contextdefs, , , Reference Manual
2498 @cindex context definition
2500 A notation contexts is defined by the following information
2505 @item The LilyPond modules that do the actual conversion of music to
2506 notation. Each module is a so-called
2511 @item How these modules should cooperate, i.e. which ``cooperation
2512 module'' should be used. This cooperation module is a special
2515 @item What other contexts the context can contain,
2517 @item What properties are defined.
2520 A context definition has this syntax:
2524 \translator @code{@{}
2525 @var{translatorinit} @var{translatormodifierlist}
2529 @var{translatorinit} can be an identifier or of the form
2533 \type @var{typename} @code{;}
2536 @var{typename} is one of
2539 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2540 The standard cooperation engraver.
2542 @item @code{Score_engraver}@indexcode{Score_engraver}
2543 This is cooperation module that should be in the top level context.
2545 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2546 This is a special cooperation module (resembling
2547 @code{Score_engraver}) that is used to created an embedded
2551 @var{translatormodifierlist} is a list of items where each item is
2555 @item @code{\consists} @var{engravername} @code{;}
2556 Add @var{engravername} to the list of modules in this context.
2557 Section XREF-engravers [FIXME] contains an overview of the engravers
2558 available. The order of engravers added with @code{\consists} is
2561 @item @code{\consistsend} @var{engravername} @code{;}
2562 Analogous to @code{\consists}, but makes sure that
2563 @var{engravername} is always added to the end of the list of
2566 Some engraver types need to be at the end of the list; this
2567 insures they are put there, and stay there, if a user adds or
2568 removes engravers. This command is usually not needed for
2571 @item @code{\accepts} @var{contextname} @code{;}
2572 Add @var{contextname} to the list of context this context can
2573 contain. The first listed context the context to create by
2576 @item @code{\remove} @var{engravername} @code{;}
2577 Remove a previously added (with @code{\consists}) engraver.
2579 @item @code{\name} @var{contextname} @code{;}
2580 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2581 the name is not specified, the translator won't do anything.
2583 @item @var{propname} @code{=} @var{value} @code{;}
2584 A property assignment. It is allowed to use reals for
2588 In the @code{\paper} block, it is also possible to define translator
2589 identifiers. Like other block identifiers, the identifier can only
2590 be used as the very first item of a translator. In order to define
2591 such an identifier outside of @code{\score}, you must do
2597 foo = \translator @{ @dots{} @}
2604 \translator @{ \foo @dots{} @}
2612 @cindex paper types, engravers, and pre-defined translators
2614 Some pre-defined identifiers can simplify modification of
2615 translators. The pre-defined identifiers are:
2618 @item @code{StaffContext}@indexcode{StaffContext}
2619 Default Staff context.
2621 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2622 Default RhythmicStaff context.
2624 @item @code{VoiceContext}@indexcode{VoiceContext}
2625 Default Voice context.
2627 @item @code{ScoreContext}@indexcode{ScoreContext}
2628 Default Score context.
2630 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2631 Score context with numbering at the Score level.
2633 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2634 Staff context with numbering at the Staff level.
2636 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2637 Staff context that does not print if it only contains rests.
2638 Useful for orchestral scores.@footnote{Harakiri, also called
2639 Seppuku, is the ritual suicide of the Samourai.}
2641 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2643 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2646 Using these pre-defined values, you can remove or add items to the
2655 \remove Some_engraver;
2656 \consists Different_engraver;
2665 @node engravers, , , Reference Manual
2667 The engravers for paper output are:
2672 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2673 Engraves bar lines. Normally in @code{Staff} and
2674 @code{RhythmicStaff}.
2676 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2677 Engrave bar numbers. These numbers appear at the start of each
2678 line. Not normally in any translator. Can be added to
2679 @code{Score} for score-wide numbering or to @code{Staff} for
2680 numbering on each staff.
2682 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2683 Handles beam requests by engraving beams. Normally appears in
2684 the @code{Voice} translator. If omitted, then notes will be
2685 printed with flags instead of beams.
2687 @item @code{Beam_req_swallow_translator}
2688 @indexcode{Beam_req_swallow_translator}
2689 Swallows beam requests. In @code{LyricVoice}.
2691 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2692 Engraves chord names. Normally in @code{ChordNameVoice} .
2694 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2696 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2697 Engraves the clef symbol. Normally in @code{Staff}.
2699 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2701 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2702 Engraves dots on dotted notes shifted to the right of the note.
2703 Normally in @code{Voice}. If omitted, then dots appear on top of
2706 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2707 Engraves dynamics symbols. Normally in @code{Voice}.
2709 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2711 @item @code{Key_engraver}@indexcode{Key_engraver}
2712 Engraves the key signature. Normally in @code{Staff}.
2714 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2716 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2717 Engraves lyrics. Normally in @code{LyricVoice}.
2719 @item @code{Multi_measure_rest_engraver}
2720 @indexcode{Multi_measure_rest_engraver}
2721 Engraves multi-measure rests that are produced with @code{R}.
2722 Normally in @code{Voice}.
2724 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2726 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2727 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2728 Note that the notes move, but the locations of accidentals stay
2731 @item @code{Priority_horizontal_align_engraver}
2732 @indexcode{Priority_horizontal_align_engraver}
2734 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2735 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2737 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2738 Handles collisions of rests. In @code{Staff}.
2740 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2741 Engraves rests. Normally in @code{Voice}.
2743 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2745 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2747 @item @code{Script_engraver}@indexcode{Script_engraver}
2748 Handles note ornaments generated by @code{\script}. Normally in
2751 @item @code{Separating_line_group_engraver}
2752 @indexcode{Separating_line_group_engraver}
2754 @item @code{Skip_req_swallow_translator}
2755 @indexcode{Skip_req_swallow_translator}
2757 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2758 Engraves slurs. Normally in @code{Voice}.
2760 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2761 Engraves lines across multiple staffs. Normally in
2762 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2763 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2765 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2767 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2769 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2770 Prints the name of the instrument (specified by
2771 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2774 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2776 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2777 Engraves stems. Normally in @code{Voice}.
2779 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2780 Engraves ties. Normally in @code{Voice}.
2782 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2783 Engraves the time signature. Normally in @code{Staff} and
2784 @code{RhythmicStaff}.
2786 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2787 Responsible for synchronizing timing information from staffs.
2788 Normally in @code{Score}. In order to create polyrhythmic music,
2789 this engraver should be removed from @code{Score} and placed in
2792 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2793 Engraves tuplet brackets? In @code{Staff}.
2795 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2800 @node Sound output, , , Reference Manual
2801 @section Sound output
2805 The MIDI block is analogous to the paper block, but it is simpler.
2806 The @code{\midi} block can contain:
2810 @item a @code{\tempo} definition
2811 @item context definitions
2814 Assignments in the @code{\midi} block are not allowed.
2818 @cindex context definition
2820 Context definitions follow precisely the same syntax as within the
2821 \paper block. Translation modules for sound are called performers.
2822 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2826 @cindex MIDI instrument names
2828 @node midilist, , , Reference Manual
2830 The MIDI instrument name is set by the
2831 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2832 if that property is not set, the
2833 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2834 instrument name should be chosen from the following list. If the
2835 selected string does not exactly match, then LilyPond uses the default
2842 "acoustic grand" "contrabass" "lead 7 (fifths)"
2843 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2844 "electric grand" "pizzicato strings" "pad 1 (new age)"
2845 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2846 "electric piano 1" "timpani" "pad 3 (polysynth)"
2847 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2848 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2849 "clav" "synthstrings 1" "pad 6 (metallic)"
2850 "celesta" "synthstrings 2" "pad 7 (halo)"
2851 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2852 "music box" "voice oohs" "fx 1 (rain)"
2853 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2854 "marimba" "orchestra hit" "fx 3 (crystal)"
2855 "xylophone" "trumpet" "fx 4 (atmosphere)"
2856 "tubular bells" "trombone" "fx 5 (brightness)"
2857 "dulcimer" "tuba" "fx 6 (goblins)"
2858 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2859 "percussive organ" "french horn" "fx 8 (sci-fi)"
2860 "rock organ" "brass section" "sitar"
2861 "church organ" "synthbrass 1" "banjo"
2862 "reed organ" "synthbrass 2" "shamisen"
2863 "accordion" "soprano sax" "koto"
2864 "harmonica" "alto sax" "kalimba"
2865 "concertina" "tenor sax" "bagpipe"
2866 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2867 "acoustic guitar (steel)" "oboe" "shanai"
2868 "electric guitar (jazz)" "english horn" "tinkle bell"
2869 "electric guitar (clean)" "bassoon" "agogo"
2870 "electric guitar (muted)" "clarinet" "steel drums"
2871 "overdriven guitar" "piccolo" "woodblock"
2872 "distorted guitar" "flute" "taiko drum"
2873 "guitar harmonics" "recorder" "melodic tom"
2874 "acoustic bass" "pan flute" "synth drum"
2875 "electric bass (finger)" "blown bottle" "reverse cymbal"
2876 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2877 "fretless bass" "whistle" "breath noise"
2878 "slap bass 1" "ocarina" "seashore"
2879 "slap bass 2" "lead 1 (square)" "bird tweet"
2880 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2881 "synth bass 2" "lead 3 (calliope)" "helicopter"
2882 "violin" "lead 4 (chiff)" "applause"
2883 "viola" "lead 5 (charang)" "gunshot"
2884 "cello" "lead 6 (voice)"
2890 @cindex MIDI types and performers
2892 The types available for MIDI translators are:
2895 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2896 @item @code{Score_performer}@indexcode{Score_performer}
2897 @item @code{Staff_performer}@indexcode{Staff_performer}
2900 The performers for MIDI translators are:
2903 @item @code{Key_performer}@indexcode{Key_performer}
2904 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2905 @item @code{Note_performer}@indexcode{Note_performer}
2906 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2907 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2912 @node Pre-defined Identifiers, , , Reference Manual
2914 @section Pre-defined Identifiers
2916 @cindex pre-defined identifiers
2919 Various identifiers are defined in the initialization files to
2920 provide shorthands for some settings. Most of them are in
2921 @file{ly/declarations.ly}.
2924 @item @code{\break}@keyindex{break}
2925 Force a line break in music by using a large argument for the
2926 keyword @code{\penalty}.
2928 @item @code{\center}@keyindex{center}
2929 Used for setting direction properties. Equals 0.
2931 @item @code{\down}@keyindex{down}
2932 Used for setting direction setting properties. Is equal
2935 @item @code{\free}@keyindex{free}
2936 Used for setting direction setting properties. Is equal
2939 @item @code{\left}@keyindex{left}
2940 Used for setting text alignment property. Is equal to -1.
2942 @item @code{\nobreak}@keyindex{nobreak}
2943 Prevent a line break in music by using a large negative argument
2944 for the keyword @code{\penalty}.
2946 @item @code{\none}@keyindex{none}
2947 Used for setting @code{Score.beamslopedamping} and
2948 @code{Score.beamquantisation} properties. Is equal to 0.
2950 @item @code{\normal}@keyindex{normal}
2951 Used for setting @code{Score.beamslopedamping} and
2952 @code{Score.beamquantisation} properties. Is equal to 1.
2954 @item @code{\normalkey}@keyindex{normalkey}
2955 Select normal key signatures where each octave has the same key
2956 signature. This sets the @code{Staff.keyoctaviation} property.
2958 @item @code{\right}@keyindex{right}
2959 Used for setting text alignment property. Is set to 1.
2961 @item @code{\shiftoff}@keyindex{shiftoff}
2962 Disable horizontal shifting of note heads that collide. Sets the
2963 @code{Voice.horizontalNoteShift} property.
2965 @item @code{\shifton}@keyindex{shifton}
2966 Enable note heads that collide with other note heads to be
2967 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2970 @item @code{\slurboth}@keyindex{slurboth}
2971 Allow slurs to be above or below notes. This sets the
2972 @code{Voice.slurVerticalDirection} property.
2974 @item @code{\slurdown}@keyindex{slurdown}
2975 Force slurs to be below notes. This sets the
2976 @code{Voice.slurVerticalDirection} property.
2978 @item @code{\slurup}@keyindex{slurup}
2979 Force slurs to be above notes. This sets the
2980 @code{Voice.slurVerticalDirection} property.
2982 @item @code{\specialkey}@keyindex{specialkey}
2983 Allow key signatures do differ in different octaves. This sets
2984 the @code{Staff.keyoctaviation} property.
2986 @item @code{\stemboth}@keyindex{stemboth}
2987 Allow stems, beams, and slurs to point either upwards or
2988 downwards, decided automatically by LilyPond. This sets the
2989 @code{Voice.verticalDirection} property.
2991 @item @code{\stemdown}@keyindex{stemdown}
2992 Force stems, beams, and slurs to point down. This sets the
2993 @code{Voice.verticalDirection} property.
2995 @item @code{\stemup}@keyindex{stemup}
2996 Force stems, beams and slurs to point up. This sets the
2997 @code{Voice.verticalDirection} property.
2999 @item @code{\traditional}@keyindex{traditional}
3000 Used for setting the @code{Score.beamquantisation} property. Is
3003 @item @code{\up}@keyindex{up}
3004 Used for setting various direction properties. Is equal