2 @c - Reinsert subsection commands that were lost in the
3 @c ancient conversion from YODL! /MB
4 @c - Restructure! Separate internal commands from user level commands. /MB
5 @c - Add some words about Guile. /MB
6 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
8 @node Reference Manual, , , Top
11 * Top level:: Top level
12 * notenames:: notenames
13 * Lexical conventions:: Lexical conventions
14 * Other languages:: notelang
17 * Music expressions:: Music expressions
18 * Atomic music expressions:: Atomic music expressions
19 * Note specification:: notedesc
21 * Manual beams:: Manual beam
22 * stem tremolo:: tremolo
23 * Compound music expressions:: Compound music expressions
26 * transpose:: transpose
27 * Ambiguities:: Ambiguities
28 * Notation conversion specifics:: Notation conversion specifics
30 * lyricprint:: lyricprint
31 * Notation Contexts:: Notation Contexts
32 * Properties:: Changing formatting
33 * Notation output definitions:: Notation output definitions
35 * Paper variables:: papervars
36 * contextdefs:: contextdefs
37 @c should include backend doco
38 @c * engravers:: engravers
39 * Sound output:: Sound output
41 * Pre-defined Identifiers:: Pre-defined Identifiers
44 @chapter Reference Manual
48 @node Overview, , , Reference Manual
51 This document@footnote{This document has been revised for
52 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
53 a language for defining music. We call this language @emph{Music
54 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
55 comes up with a better name, we'd gladly take this. Gourlay already
56 uses a ``Musical Description Language,'' ISO standard 10743 defines a
57 ``Standard Music Description Language.'' We're not being original
60 @emph{Mudela} is a language that allows you to
63 @item create musical expressions by combining pitches, durations
64 @item output those musical expressions to various formats
65 @item give those musical expressions and output definitions names, so
66 you can enter them in manageable chunks.
69 @emph{Mudela} aims to define a piece of music completely, both from
70 typesetting and from a performance point of view.
74 @node Top level, , , Reference Manual
79 This section describes what you may enter at top level.
83 @cindex score definition
85 The output is generated combining a music expression with an output
86 definition. A score block has the following syntax:
89 \score @{ @var{musicexpr} @var{outputdefs} @}
92 @var{outputdefs} are zero or more output definitions. If no output
93 definition is supplied, the default @code{\paper} block will be added.
104 \header @{ @var{key1} = @var{val1};
105 @var{key2} = @var{val2}; @dots{} @}
108 A header describes the file's contents. It can also appear in a
109 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
110 information for generating titles. Key values that are used by
111 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
112 metre, arranger, piece and tagline.
114 It is customary to put the @code{\header} at the top of the file.
117 @node notenames, , , Reference Manual
119 Note name tables can be specified using
122 \notenames@keyindex{notenames}
123 @{ @var{assignmentlist} @}
126 @var{assignmentlist} is a list of definitions of the form
129 @var{name} = @var{pitch}
132 Chord modifiers can be set analogously, with
133 @code{\chordmodifiers}@keyindex{chordmodifiers}.
135 A @code{\paper} block at top level sets the default paper block. A
136 @code{\midi} block at top level works similarly.
140 LilyPond contains a Scheme interpreter (the GUILE library) for
141 internal use. The following commands access the interpreter
148 Evaluates the specified Scheme code. The result is discarded.
150 Identifier assignments may appear at top level. Semicolons are
151 forbidden after top level assignments.
155 @node Lexical conventions, , , Reference Manual
156 @section Lexical conventions
158 @cindex lexical conventions
167 A one line comment is introduced by a `@code{%}' character.
168 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
169 They cannot be nested.
175 Keywords start with a backslash, followed by a number of lower case
176 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:
316 Note Names sharp flat
317 nederlands.ly c d e f g a bes b -is -es
318 english.ly c d e f g a bf b -s/-sharp -f/-flat
319 deutsch.ly c d e f g a b h -is -es
320 norsk.ly c d e f g a b h -iss/-is -ess/-es
321 svenska.ly c d e f g a b h -iss -ess
322 italiano.ly do re mi fa sol la sib si -d -b
323 catalan.ly do re mi fa sol la sib si -d/-s -b
326 Pitch names can be redefined using the
327 @code{\notenames}@keyindex{notenames} command, see
328 subsection XREF-notenames [FIXME].
332 @cindex lexical modes
336 @node modes, , , Reference Manual
338 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
339 special input modes on top of the default mode. In each mode, words
340 are identified on the input. If @code{"word"} is encountered, it is
341 treated as a string. If @code{\word} is encountered, it is treated as
342 a keyword or as an identifier. The behavior of the modes differs in
343 two ways: Different modes treat unquoted words differently, and
344 different modes have different rules for deciding what is a word.
350 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
351 mode, a word is an alphabetic character followed by alphanumeric
352 characters. If @code{word} is encountered on the input it is
358 Note mode is introduced by the keyword
359 @code{\notes}@keyindex{notes}. In Note mode, words can only
360 contain alphabetic characters. If @code{word} is encountered,
361 LilyPond first checks for a notename of @code{word}. If no
362 notename is found, then @code{word} is treated as a string.
364 Since combinations of numbers and dots are used for indicating
365 durations, it is not possible to enter real numbers in this mode.
370 Chord mode is introduced by the keyword
371 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
372 words are also looked up in a chord modifier table (containing
373 @code{maj}, @code{dim}, etc).
375 Since combinations of numbers and dots are used for indicating
376 durations, you can not enter real numbers in this mode. Dashes
377 and carets are used to indicate chord additions and subtractions,
378 so scripts can not be entered in Chord mode.
383 Lyrics mode is introduced by the keyword
384 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
385 easy to include punctuation and diacritical marks in words. A
386 word in Lyrics mode begins with: an alphabetic character,
387 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
388 control characters @code{^A} through @code{^F}, @code{^Q} through
389 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
390 over 127, or a two-character combination of a backslash followed
391 by one of `@code{`}', `@code{'}', `@code{"}', or
392 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
393 enter lyrics in @TeX{} format or a standard encoding without
394 needing quotes. The precise definition of this mode indeed is
395 ludicrous. This will remain so until the authors of LilyPond
396 acquire a deeper understanding of character encoding, or someone
397 else steps up to fix this.}
399 Subsequent characters of a word can be any character that is not
400 a digit and not white space. One important consequence of this
401 is that a word can end with `@code{@}}', which may be confusing if
402 you thought the closing brace was going to terminate Lyrics
403 mode.@footnote{LilyPond will issue a warning, though.} Any
404 `@code{_}' character which appears in an unquoted word is
405 converted to a space. This provides a mechanism for introducing
406 spaces into words without using quotes. Quoted words can also be
407 used in Lyrics mode to specify words that cannot be written with
408 the above rules. Here are some examples. Not all of these words
409 are printable by @TeX{}.
413 2B_||_!2B % not a word because it starts with a digit
414 ``Hello'' % not a word because it starts with `
415 _ _ _ _ % 4 words, each one a space
418 Since combinations of numbers and dots are used for indicating
419 durations, you can not enter real numbers in this mode.
422 It is possible to create words that break the rules by prefixing them
423 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
424 word beginning with `@code{$}' extends until the next white space
425 character. Such words can contain numbers (even in Note mode), or
426 other forbidden characters. The dollar sign can be used to create
427 and access identifiers that could not otherwise be used.@footnote{Use
428 of `@code{$}' hampers readability and portability to future LilyPond
429 versions, thus the use of the dollar sign is discouraged.}
433 @node Types, , , Reference Manual
436 @cindex types and identifiers
438 @emph{Mudela} has a limited set of types:
444 @item music expressions
445 @item durations of notes and rests (specified with
446 @code{\notenames}@keyindex{notenames})
447 @item note name tables
448 @item context definitions, part of output definitions. See
449 section XREF-contextdefs [FIXME] for more information
450 @item output definitions (like @code{\paper}@keyindex{paper} blocks
451 and @code{\midi}@keyindex{midi} blocks)
452 @item score definitions (@code{\score}@keyindex{score} blocks)
455 Type is a syntactical property: @emph{Mudela} has no real type system,
456 so there is no support for generic expressions, functions, or user
457 defined types. For the same reason, it is not possible to mix reals
458 and integers in arithmetic expressions, and ``type
461 (e.g., using a string identifier to
462 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
465 Identifiers allow objects to be assigned to names. To assign an
466 identifier, you use `@var{name}=@var{value}' and to refer to an
467 identifier, you preceed its name with a backslash:
468 `@code{\}@var{name}'. Identifier assignments must appear at top level
469 in the @emph{Mudela} file. Semicolons are forbidden after assignments
470 appearing at top level but they are obligatory after assignments
471 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
473 @var{value} is any of the types listed above.
475 An identifier can be created with any string for its name, but you
476 will only be able to refer to identifiers whose names begin with a
477 letter, being entirely alphanumeric. It is impossible to refer to an
478 identifier whose name is the same as the name of a keyword.
480 The right hand side of an identifier assignment is parsed completely
481 before the assignment is done, so it is allowed to redefine an
482 identifier in terms of its old value, e.g.
488 When an identifier is referenced, the information it points to is
489 copied. Therefore it only makes sense to put identifiers for
490 translators, output definitions, and @code{\score}@keyindex{score}
491 blocks as the first item in a block. For this reason, if you
492 reference a @code{\foo} variable in a @code{\foo} block, it must be the
493 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
494 \two@}} does not make sense, because the information of @code{\two}
495 would overwrite the information of @code{\one}, thereby making the
496 reference to the first identifier useless.}
500 @node Music expressions, , , Reference Manual
501 @section Music expressions
503 @cindex music expressions
505 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
506 lyric syllables are music expressions (the atomic
508 @cindex atomic music expressions
509 , and you can combine
510 music expressions to form new ones. This example forms a compound
511 expressions out of the quarter @code{c} note and a @code{d}
515 \sequential @{ c4 d4 @}
518 The meaning of this compound expression is to play the `@code{c}'
519 first, and then the `@code{d}' (as opposed to playing them
520 simultaneously, for instance).
522 Atomic music expression are discussed in
523 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
524 discussed in subsection XREF-compoundmusic [FIXME].
528 @node Atomic music expressions, , , Reference Manual
529 @section Atomic music expressions
539 The syntax for pitch specification is
543 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
546 @var{octave} is specified by an integer, zero for the octave
547 containing middle C. @var{note} is a number from 0 to 7, with 0
548 corresponding to C and 7 corresponding to B. The shift is zero for a
549 natural, negative to add flats, or positive to add sharps.
551 In Note and Chord mode, pitches may be designated by names. See
552 section XREF-notelang [FIXME] for pitch names in different languages.
554 The syntax for duration specification is
557 \duration@keyindex{duration}
558 @{ @var{length} @var{dotcount} @}
561 @var{length} is the negative logarithm (base 2) of the duration:
562 1 is a half note, 2 is a quarter note, 3 is an eighth
563 note, etc. The number of dots after the note is given by
566 In Note, Chord, and Lyrics mode, durations may be designated by
567 numbers and dots. See Section XREF-notelang [FIXME] for details.
570 @node Note specification, , , Reference Manual
572 @cindex note specification
576 @cindex entering notes
578 A note specification has the form
581 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
584 The pitch of the note is specified by the note's name.
587 The default names are the Dutch note names. The notes are specified
588 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
589 octave below middle C and the letters span the octave above that C.
590 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
591 `@code{-is}' to the end of a pitch name. A flat is formed by adding
592 `@code{-es}'. Double sharps and double flats are obtained by adding
593 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
594 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
597 LilyPond has predefined sets of notenames for various languages. See
598 section XREF-notelang [FIXME] for details.
601 The optional octave specification takes the form of a series of
602 single quote (`@code{'}@indexcode{'}') characters or a series of comma
603 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
604 octave; each @code{,} lowers the pitch by an octave.
606 @mudela[fragment,verbatim,center]
607 c' d' e' f' g' a' b' c''
610 @mudela[fragment,verbatim,center]
611 cis' dis' eis' fis' gis' ais' bis'
614 @mudela[fragment,verbatim,center]
615 ces' des' es' fes' ges' as' bes'
618 @mudela[fragment,verbatim,center]
619 cisis' eisis' gisis' aisis' beses'
622 @mudela[fragment,verbatim,center]
623 ceses' eses' geses' ases' beses'
626 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
627 will determine what accidentals to typeset depending on the key and
628 context. A reminder accidental
629 @cindex reminder accidental
631 forced by adding an exclamation mark `@code{!}' after the pitch. A
632 cautionary accidental,
633 @cindex cautionary accidental
635 accidental within parentheses can be obtained by adding the question
636 mark `@code{?}@indexcode{?}' after the pitch.
638 @mudela[fragment,verbatim,center]
639 cis' d' e' cis' c'? d' e' c'!
645 Durations are entered as their reciprocal values. For notes longer
646 than a whole note, use identifiers.
652 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
661 \notes \relative c'' {
663 a1 a2 a4 a8 a16 a32 a64 a64
668 \remove "Clef_engraver";
669 \remove "Staff_symbol_engraver";
680 r1 r2 r4 r8 r16 r32 r64 r64
689 \notes \relative c'' {
691 r1 r2 r4 r8 r16 r32 r64 r64
694 loose_column_distance = 2.5 * \staffspace;
698 \remove "Clef_engraver";
699 \remove "Staff_symbol_engraver";
700 \remove "Bar_engraver";
707 If the duration is omitted then it is set equal to the previous
708 duration. If there is no previous duration, a quarter note is
709 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
710 to obtain dotted note lengths.
712 @mudela[fragment,verbatim,center]
716 You can alter the length of duration by writing
717 `@code{*}@var{fraction}' after it. This will not affect the
718 appearance of note heads or rests.
721 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
722 or `@code{R}@indexcode{R}'. There is also a note name
723 `@code{s}@indexcode{s}', which produces a space of the specified
724 duration. `@code{R}' is specifically meant for entering parts: the
725 @code{R} rest can expand to fill a score with rests, or it can be
726 printed as a single multimeasure rest.
728 You can control the expansion by setting the property
729 @code{Score.skipBars}. If this is set to true, Lily will not expand
730 empty measures, and the multimeasure rests automatically adds the
734 @cindex lyrics expressions
736 Syllables are entered like notes, with pitches replaced by text. For
737 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
738 with quarter note duration. Note that the hyphen has no special
739 meaning for lyrics, and does not introduce special symbols. See
740 section XREF-modes [FIXME] for a description of what is interpreted as
743 Spaces can be introduced into a lyric either by using quotes
744 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
745 not4}'. All unquoted underscores are converted to spaces. Printing
746 lyrics is discussed in section XREF-lyricprint [FIXME].
753 \property@keyindex{property}
754 @var{contextname}.@var{propname} = @var{value}
757 Sets the @var{propname} property of the context @var{contextname} to
758 the specified @var{value}. All three arguments are strings.
759 Depending on the context, it may be necessary to quote the strings or
760 to leave space on both sides of the dot.
764 @cindex translator switches
767 \translator@keyindex{translator}
768 @var{contexttype} = @var{name}
771 A music expression indicating that the context which is a direct
772 child of the a context of type @var{contexttype} should be shifted to
773 a context of type @var{contexttype} and the specified name.
775 Usually this is used to switch staffs in Piano music, e.g.
778 \translator Staff = top @var{Music}
782 @cindex output properties
785 These allow you to tweak what is happening in the back-end
786 directly. If you want to control every detail of the output
787 formatting, this is the feature to use. The downside to this is that
788 you need to know exactly how the backend works. Example:
791 @mudela[fragment,verbatim]
793 \context Staff \outputproperty
794 #(make-type-checker 'Note_head)
795 #'extra-offset = #'(5.0 . 7.5)
799 This selects all note heads occurring at current staff level, and sets
800 the extra-offset of those heads to (5,7.5), shifting them up and
803 Use of this feature is entirely on your own risk: if you use this, the
804 result will depend very heavily on the implentation of the backend,
805 which we change unscrupulously.
812 Commands are music expressions that have no duration.
817 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
820 Change the key signature. @var{type} should be
821 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
822 @var{pitch}-major or @var{pitch}-minor, respectively. The second
823 argument is optional; the default is major keys. The @var{\context}
824 argument can also be given as an integer, which tells the number of
825 semitones that should be added to the pitch given in the subsequent
826 @code{\key}@keyindex{key} commands to get the corresponding major key,
827 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
828 mode names @code{\ionian}@keyindex{ionian},
829 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
830 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
831 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
836 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
839 Specify an arbitrary key signature. The pitches from @var{pitch} will
840 be printed in the key signature in the order that they appear on the
845 \mark@keyindex{mark} @var{unsigned};
849 Prints a mark over or under (depending on the
850 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
851 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
854 @node barlines, , , Reference Manual
857 \bar@keyindex{bar} @var{bartype};
860 This is a request to print a special bar symbol. It replaces the
861 regular bar symbol with a special
862 symbol. The argument @var{bartype} is a string which specifies the
863 kind of bar to print. Options are @code{":|"}
864 @cindex "|A@@@code{:|}
867 @cindex "|B@@@code{|:}
869 @cindex "|C@@@code{:|:}
872 @cindex "|D@@@code{||}
874 @cindex "|E@@@code{|.}
877 @cindex "|F@@@code{.|}
879 @cindex "|G@@@code{.|.}
881 These produce, respectively, a right repeat, a left repeat, a double
882 repeat, a double bar, a start bar, an end bar, and a thick double
883 bar. If @var{bartype} is set to @code{"empty"} then nothing is
884 printed, but a line break is allowed at that spot.
886 You are encouraged to use @code{\repeat} for repetitions.
887 See section XREF-sec-repeats [FIXME].
894 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
897 Change the time signature. The default time signature is 4/4.
898 The time signature is used to generate bar lines.
902 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
905 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
906 requests output with 76 quarter notes per minute.
910 \partial@keyindex{partial} @var{duration} @code{;}
917 This creates an incomplete measure (anacrusis, upbeat) at the start of
918 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
919 lasting two eighth notes.
923 @code{|}@indexcode{|}
928 @cindex shorten measures
932 `@code{|}' is a bar check. Whenever a bar check is encountered during
933 interpretation, a warning message is issued if it doesn't fall at a
934 measure boundary. This can help you finding errors in the input.
935 The beginning of the measure will be relocated, so this can also
936 be used to shorten measures.
941 \penalty@keyindex{penalty} @var{int} @code{;}
944 Discourage or encourage line breaks. See identifiers
945 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
946 section [on identifiers] [FIXME].
950 \clef@keyindex{clef} @var{clefname} @code{;}
953 Music expression that sets the current clef. The argument is a
954 string which specifies the name of the clef. Several clef names are
955 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
956 name, then the clef lowered or raised an octave will be generated.
957 Here are the supported clef names with middle C shown in each
966 %\property Voice.textStyle = typewriter
967 \clef subbass; c'4-"\kern -5mm subbass"
968 \clef bass; c'4^"\kern -2mm bass"
969 \clef baritone; c'4_"\kern -5mm baritone"
970 \clef varbaritone; c'4^"\kern -6mm varbaritone"
971 \clef tenor; c'4_"\kern -3mm tenor"
972 \clef "G_8"; c'4^"\kern -2mm G\\_8"
987 \clef alto; c'4_"\kern -2mm alto"
988 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
989 \clef soprano; c'4_"\kern -6mm soprano"
990 \clef treble; c'4^"\kern -4mm treble"
991 \clef french; c'4_"\kern -4mm french"
1000 The three clef symbols can also be obtained using the names `@code{G}',
1001 `@code{C}' or `@code{F}', optionally followed by an integer which
1002 indicates at which note line the clef is located. An as example, the
1003 @code{mezzosoprano} clef can also be given as `@code{C2}'.
1007 \skip@keyindex{skip} @var{duration} @code{;}
1010 Skips the amount of time specified by @var{duration}. If no other
1011 music is played, a gap will be left for the skipped time with no
1012 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1013 this has the same effect as the space rest `@code{s}'.
1018 @node Manual beams, , , Reference Manual
1020 A beam is specified by surrounding the beamed notes with brackets
1021 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1023 @mudela[fragment,verbatim,center]
1024 [a'8 a'] [a'16 a' a' a']
1027 Some more elaborate constructions:
1029 @mudela[fragment,verbatim,center]
1030 [a'16 <a' c''> c'' <a' c''>]
1031 \times 2/3 { [e'8 f' g'] }
1034 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1038 To place tremolo marks between notes, use @code{\repeat} with tremolo
1040 @cindex tremolo beams
1041 To create tremolo beams on a single note, simply attach
1042 `@code{:}@var{length}' to the note itself (see also section
1043 XREF-tremolo [FIXME]).
1046 @mudela[fragment,verbatim,center]
1047 \repeat "tremolo" 8 { c16 d16 }
1048 \repeat "tremolo" 4 { c16 d16 }
1051 @mudela[fragment,verbatim,center]
1056 @cindex --@@@code{-}@code{-}
1064 The syntax for an extender mark is `@code{__}'. This syntax can only
1065 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1066 a hyphen that will be printed between two lyric syllables) is
1072 A tie connects two adjacent note heads of the same pitch. When used
1073 with chords, it connects all of the note heads whose pitches match.
1074 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1075 If you try to tie together chords which have no common pitches, a
1076 warning message will appear and no ties will be created.
1078 @mudela[fragment,verbatim,center]
1079 e' ~ e' <c' e' g'> ~ <c' e' g'>
1084 [TODO: explain Requests]
1087 @cindex articulations
1093 A variety of symbols can appear above and below notes to indicate
1094 different characteristics of the performance. These symbols can be
1095 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1096 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1097 forced to appear above or below the note by writing
1098 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1099 respectively. Here is a chart showing symbols above notes, with the
1100 name of the corresponding symbol appearing underneath.
1106 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1107 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1108 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1109 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1110 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1111 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1112 c''-\thumb c''-\segno c''-\coda
1114 \context Lyrics \lyrics {
1115 accent__ marcato__ staccatissimo__ fermata
1116 stopped__ staccato__ tenuto__ upbow
1117 downbow__ lheel__ rheel__ ltoe
1118 rtoe__ turn__ open__ flageolet
1119 reverseturn__ trill__ prall__ mordent
1120 prallprall__ prallmordent__ uprall__ downprall
1121 thumb__ segno__ coda
1125 linewidth = 5.875\in;
1132 In addition, it is possible to place arbitrary strings of text or
1133 @TeX{} above or below notes by using a string instead of an
1134 identifier: `@code{c^"text"}'. Fingerings
1137 placed by simply using digits. All of these note ornaments appear in
1138 the printed output but have no effect on the MIDI rendering of the
1141 To save typing, fingering instructions (digits 0 to 9 are
1142 supported) and single characters shorthands exist for a few
1149 \property Voice.textStyle = typewriter
1155 c''4-^_"c-\\^{ }" s4
1162 linewidth = 5.875 \in;
1169 Dynamic marks are specified by using an identifier after a note:
1170 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1171 The available dynamic marks are:
1172 @code{\ppp}@keyindex{ppp},
1173 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1174 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1175 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1176 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1177 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1178 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1179 @code{\rfz}@keyindex{rfz}.
1184 \textscript@keyindex{textscript} @var{text} @var{style}
1187 Defines a text to be printed over or under a note. @var{style} is a
1188 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1189 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1191 You can attach a general textscript request using this syntax:
1196 c4-\textscript "6" "finger"
1197 c4-\textscript "foo" "normal"
1202 This is equivalent to `@code{c4-6 c4-"foo"}'.
1209 \script@keyindex{script} @var{alias}
1212 Prints a symbol above or below a note. The argument is a string
1213 which points into the script-alias table defined in @file{script.scm}.
1214 The scheme definitions specify whether the symbol follows notes into
1215 the staff, dependence of symbol placement on staff direction, and a
1216 priority for placing several symbols over one note. Usually the
1217 @code{\script}@keyindex{script} keyword is not used directly. Various
1218 helpful identifier definitions appear in @file{script.ly}.
1223 Slurs connects chords and try to avoid crossing stems. A slur is
1224 started with `@code{(}' and stopped with `@code{)}'. The
1225 starting `@code{(}' appears to the right of the first note in
1226 the slur. The terminal `@code{)}' appears to the left of the
1227 first note in the slur. This makes it possible to put a note in
1228 slurs from both sides:
1230 @mudela[fragment,verbatim,center]
1231 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1237 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1238 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1239 @code{\decr}@keyindex{decr} and terminated with
1240 @code{\rced}@keyindex{rced}. There are also shorthands for these
1241 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1242 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1243 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1244 must go before the last note of the dynamic mark whereas @code{\rc}
1245 and @code{\rced} go after the last note. Because these marks are
1246 bound to notes, if you want to get several marks during one note, you
1247 must use spacer notes.
1249 @mudela[fragment,verbatim,center]
1250 c'' \< \! c'' d'' \decr e'' \rced
1251 < f''1 { s4 \< \! s2 \> \! s4 } >
1257 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1260 Define a spanning request. The @var{startstop} parameter is either -1
1261 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1262 @var{type} is a string that describes what should be started.
1263 Supported types are @code{crescendo}, @code{decrescendo},
1264 @code{beam}, @code{slur}. This is an internal command. Users should
1265 use the shorthands which are defined in the initialization file
1268 You can attach a (general) span request to a note using
1270 @mudela[fragment,verbatim,center]
1271 c'4-\spanrequest \start "slur"
1272 c'4-\spanrequest \stop "slur"
1275 The slur syntax with parentheses is a shorthand for this.
1279 @cindex tremolo marks
1281 @node stem tremolo, , , Reference Manual
1283 Tremolo marks can be printed on a single note by adding
1284 `@code{:}[@var{length}]' after the note. The length must be at
1285 least 8. A @var{length} value of 8 gives one line across
1286 the note stem. If the length is omitted, then the last value is
1287 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1290 @mudela[verbatim,fragment,center]
1296 @node Compound music expressions, , , Reference Manual
1297 @section Compound music expressions
1299 @cindex compound music expressions
1301 Music expressions are compound data structures. You can nest music
1302 expressions any way you like. This simple example shows how three
1303 chords can be expressed in two different ways:
1305 @mudela[fragment,verbatim,center]
1306 \notes \context Staff {
1308 <a c'> <b d' > <c' e'>
1309 < { a b c' } { c' d' e' } >
1313 @cindex context selection
1314 @c @keyindex{context}
1317 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1320 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1321 If the context does not exist, it will be created. The new context
1322 can optionally be given a name. See
1323 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1324 information on interpretation contexts.
1332 Mode switching keywords form compound music expressions: @code{\notes}
1333 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1334 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1335 These expressions do not add anything to the meaning of their
1336 arguments. They are just a way to indicate that the arguments should
1337 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1338 information on modes.
1340 More information on context selection can be found in
1341 section XREF-contextselection [FIXME].
1345 @cindex sequential music
1351 \sequential@keyindex{sequential}
1352 @code{@{} @var{musicexprlist} @code{@}}
1355 This means that list should be played or written in sequence, i.e.,
1356 the second after the first, the third after the second. The duration
1357 of sequential music is the the sum of the durations of the elements.
1358 There is a shorthand, which leaves out the keyword:
1362 @code{@{} @var{musicexprlist} @code{@}}
1367 @cindex simultaneous music
1374 \simultaneous@keyindex{simultaneous}
1375 @code{@{} @var{musicexprlist} @code{@}}
1378 It constructs a music expression where all of its arguments start at
1379 the same moment. The duration is the maximum of the durations of the
1380 elements. The following shorthand is a common idiom:
1384 @code{<} @var{musicexprlist} @code{>}
1387 If you try to use a chord as the first thing in your score, you might
1388 get multiple staffs instead of a chord.
1390 @mudela[verbatim,center]
1399 This happens because the chord is interpreted by a score context.
1400 Each time a note is encountered a default Voice context (along with a
1401 Staff context) is created. The solution is to explicitly instantiate
1404 @mudela[verbatim,center]
1406 \notes\context Voice <c''4 e''>
1415 @cindex relative pitch specification
1417 @node relative, , , Reference Manual
1419 It is easy to get confused by octave changing marks and accidentally
1420 putting a pitch in the wrong octave. A much better way of entering a
1421 note's octave is `the relative octave' mode.
1425 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1428 The octave of notes that appear in @var{musicexpr} are calculated as
1429 follows: If no octave changing marks are used, the basic interval
1430 between this and the last note is always taken to be a fourth or
1431 less.@footnote{The interval is determined without regarding
1432 accidentals. A @code{fisis} following a @code{ceses} will be put above
1433 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1434 can then be added to raise or lower the pitch by an extra octave.
1435 Upon entering relative mode, an absolute starting pitch must be
1436 specified that will act as the predecessor of the first note of
1439 Entering scales is straightforward in relative mode.
1441 @mudela[fragment,verbatim,center]
1447 And octave changing marks are used for intervals greater than a fourth.
1449 @mudela[fragment,verbatim,center]
1451 c g c f, c' a, e'' }
1454 If the preceding item is a chord, the first note of the chord is used
1455 to determine the first note of the next chord. But other notes
1456 within the second chord are determined by looking at the immediately
1459 @mudela[fragment,verbatim,center]
1467 The pitch after the @code{\relative} contains a notename. To parse
1468 the pitch as a notename, you have to be in note mode, so there must
1469 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1472 The relative conversion will not affect @code{\transpose} or
1473 @code{\relative} sections in its argument. If you want to use
1474 relative within transposed music, you must place an additional
1475 @code{\relative} inside the @code{\transpose}.
1477 It is strongly recommended to use relative pitch mode: less work,
1478 less error-prone, and more readable.
1482 Chord names are a way to generate simultaneous music expressions that
1483 correspond with traditional chord names. It can only be used in
1484 Chord mode (see section XREF-modes [FIXME]).
1488 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1491 @var{tonic} should be the tonic note of the chord, and @var{duration}
1492 is the chord duration in the usual notation. There are two kinds of
1493 modifiers. One type is @emph{chord additions}, which are obtained by
1494 listing intervals separated by dots. An interval is written by its
1495 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1496 lowering by half a step. Chord additions has two effects: It adds
1497 the specified interval and all lower odd numbered intervals to the
1498 chord, and it may lower or raise the specified interval. Intervals
1499 must be separated by a dot (`@code{.}').
1503 @mudela[fragment,verbatim]
1507 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1514 The second type of modifier that may appear after the `@code{:}' is a
1515 named modifier. Named modifiers are listed in the file
1516 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1517 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1518 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1519 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1520 which replaces the 5th with a 4th.
1524 @mudela[fragment,verbatim]
1527 c1:m c:min7 c:maj c:aug c:dim c:sus
1535 Chord subtractions are used to eliminate notes from a chord. The
1536 notes to be subtracted are listed after a `@code{^}' character,
1539 @mudela[fragment,verbatim,center]
1547 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1548 the name of a single note to a chord. This has the effect of
1549 lowering the specified note by an octave so it becomes the lowest
1550 note in the chord. If the specified note is not in the chord, a
1551 warning will be printed.
1553 @mudela[fragment,verbatim,center]
1562 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1563 the name of a single note to a chord. This has the effect of
1564 adding the specified note to the chord, lowered by an octave,
1565 so it becomes the lowest note in the chord.
1567 @mudela[fragment,verbatim,center]
1576 Throughout these examples, chords have been shifted around the staff
1577 using @code{\transpose}.
1579 You should not combine @code{\relative} with named chords.
1585 Tuplets are made out of a music expression by multiplying their
1586 duration with a fraction.
1590 \times@keyindex{times} @var{fraction} @var{musicexpr}
1593 The duration of @var{musicexpr} will be multiplied by the fraction.
1594 In print, the fraction's denominator will be printed over the notes,
1595 optionally with a bracket. The most common tuplet is the triplet in
1596 which 3 notes have the length of 2, so the notes are 2/3 of
1597 their written length:
1599 @mudela[fragment,verbatim,center]
1600 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1609 \grace@keyindex{grace} @var{musicexpr}
1612 A grace note expression has duration 0; the next real note is
1613 assumed to be the main note.
1615 You cannot have the grace note after the main note, in terms of
1616 duration, and main notes, but you can typeset the grace notes to the
1617 right of the main note using the property
1618 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1620 When grace music is interpreted, a score-within-a-score is set up:
1621 @var{musicexpr} has its own time bookkeeping, and you could (for
1622 example) have a separate time signature within grace notes. While in
1623 this score-within-a-score, you can create notes, beams, slurs, etc.
1624 Unbeamed eighth notes and shorter by default have a slash through the
1625 stem. This behavior can be controlled with the
1626 @code{flagStyle}@indexcode{flagStyle} property.
1630 @mudela[fragment,verbatim]
1632 \grace c8 c4 \grace { [c16 c16] } c4
1633 \grace { \property Grace.flagStyle = "" c16 } c4
1639 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1643 @code{\grace @{ \grace c32 c16 @} c4}
1646 may result in run-time errors of LilyPond. Since the meaning of such
1647 a construct is unclear, we don't consider this a loss. Similarly,
1648 juxtaposing two @code{\grace} sections is syntactically valid, but
1649 makes no sense and may cause runtime errors.
1651 Ending a staff or score with grace notes may also generate a run-time
1652 error, since there will be no main note to attach the grace notes to.
1658 @node Repeats, , , Reference Manual
1660 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1661 keyword. Since repeats look and sound differently when played or
1662 printed, there are a few different variants of repeats.
1666 Repeated music is fully written (played) out. Useful for MIDI
1670 This is the normal notation: Repeats are not written out, but
1671 alternative endings (voltas) are printed, left to right.
1674 Alternative endings are written stacked, which is useful for
1678 The syntax for repeats is
1682 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1685 If you have alternative endings, you may add
1689 \alternative@keyindex{alternative}
1690 @code{@{} @var{alternative1}
1692 @var{alternative3} @dots{} @code{@}}
1695 where each @var{alternative} is a Music expression.
1697 Normal notation repeats are used like this:
1701 @mudela[fragment,verbatim]
1703 \repeat volta 2 { c'4 d' e' f' }
1704 \repeat volta 2 { f' e' d' c' }
1709 With alternative endings:
1713 @mudela[fragment,verbatim]
1715 \repeat volta 2 {c'4 d' e' f'}
1716 \alternative { {d'2 d'} {f' f} }
1721 Folded repeats look like this:@footnote{Folded repeats offer little
1722 more over simultaneous music. However, it is to be expected that
1723 more functionality -- especially for the MIDI backend -- will be
1728 @mudela[fragment,verbatim]
1730 \repeat fold 2 {c'4 d' e' f'}
1731 \alternative { {d'2 d'} {f' f} }
1738 @mudela[fragment,verbatim]
1742 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1743 \alternative { { g4 g g } { a | a a a a | b1 } }
1750 If you don't give enough alternatives for all of the repeats, then
1751 the first alternative is assumed to be repeated often enough to equal
1752 the specified number of repeats.
1756 @mudela[fragment,verbatim]
1759 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1760 \alternative { { g4 g g }
1761 {\partial 1; e4 e e }
1762 {\partial 1; a a a a | b1 } }
1769 It is possible to nest @code{\repeat}. This is not entirely
1770 supported: the notes will come be in the right places, but the repeat
1775 @cindex transposition of pitches
1777 @node transpose, , , Reference Manual
1779 A music expression can be transposed with
1780 @code{\transpose}@keyindex{transpose}. The syntax is
1784 \transpose @var{pitch} @var{musicexpr}
1787 This means that middle C in @var{musicexpr} is transposed to
1790 @code{\transpose} distinguishes between enharmonic pitches: both
1791 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1792 a tone. The first version will print sharps and the second version
1797 @mudela[fragment,verbatim]
1800 { \key e \major; c d e f }
1802 \transpose des'' { \key e \major; c d e f }
1803 \transpose cis'' { \key e \major; c d e f }
1809 If you want to use both @code{\transpose} and @code{\relative}, then
1810 you must use @code{\transpose} first. @code{\relative} will have no
1811 effect music that appears inside a @code{\transpose}.
1815 @cindex automatic lyric durations
1817 If you have lyrics that are set to a melody, you can import the
1818 rhythm of that melody into the lyrics using @code{\addlyrics}.
1819 @keyindex{addlyrics} The syntax for this is
1823 \addlyrics @var{musicexpr1 musicexpr2}
1826 This means that both @var{musicexpr1} and @var{musicexpr2} are
1827 interpreted, but that every non-command atomic music expression
1828 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1829 of @var{musicexpr1}.
1831 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1832 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1837 @mudela[verbatim,fragment]
1840 \property Voice.automaticMelismata = ##t
1841 c8 () cis d8. e16 f2
1843 \context Lyrics \lyrics {
1849 You should use a single rhythm melody, and single rhythm lyrics (a
1850 constant duration is the obvious choice). If you do not, you will get
1851 undesired effects when using multiple stanzas:
1855 @mudela[verbatim,fragment]
1858 c8 () cis d8. e16 f2
1860 \context Lyrics \lyrics
1867 It is valid (but probably not very useful) to use notes instead of
1868 lyrics for @var{musicexpr2}.
1873 @node Ambiguities, , , Reference Manual
1874 @section Ambiguities
1878 The grammar contains a number of ambiguities.@footnote{The authors
1879 hope to resolve them at a later time.}
1882 @item The assignment
1888 can be interpreted as making a string identifier @code{\foo}
1889 containing @code{"bar"}, or a music identifier @code{\foo}
1890 containing the syllable `bar'.
1892 @item The assignment
1898 can be interpreted as making an integer identifier
1899 containing -6, or a Request identifier containing the
1900 fingering `6' (with neutral direction).
1902 @item If you do a nested repeat like
1914 then it is ambiguous to which @code{\repeat} the
1915 @code{\alternative} belongs. This is the classic if-then-else
1916 dilemma. It may be solved by using braces.
1918 @item (an as yet unidentified ambiguity :-)
1923 @node Notation conversion specifics, , , Reference Manual
1924 @section Notation conversion specifics
1928 @cindex automatic beam generation
1930 @node autobeam, , , Reference Manual
1932 By default, LilyPond will generate beams automatically. This feature
1933 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1934 property to 1. It can be overridden for specific cases by
1935 specifying explicit beams as described in
1936 section XREF-manualbeam [FIXME].
1938 A large number of Voice properties are used to decide how to generate
1939 beams. Their default values appear in @file{auto-beam-settings.ly}.
1940 In general, beams can begin anywhere, but their ending location is
1941 significant. Beams can end on a beat, or at durations specified by
1942 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1943 quarter note, for example, you could set
1944 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1945 at every three eighth notes you would set it to `@code{"3/8"}'. The
1946 same syntax can be used to specify beam starting points using
1947 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1949 To allow different settings for different time signatures, these
1950 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1951 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1952 to specify beams ending only for 6/8 time you would use the
1953 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1954 for notes of different durations, the duration can be tacked onto the
1955 end of the property. To specify beam endings for beams that contain
1956 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1964 @cindex printing!chord names
1966 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1967 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1968 either using the notation described above, or directly using
1973 @mudela[fragment,verbatim]
1975 \context ChordNames {
1976 \chords{a b c} \notes{<d f g> <e g b>}
1978 \context Staff \notes {
1986 LilyPond examines chords specified as lists of notes to determine a
1987 name to give the chord. By default, LilyPond will not try to
1988 identify chord inversions:
1990 @mudela[fragment,verbatim,center]
1992 \context ChordNameVoice \notes {
1995 \context Thread \notes {
2001 If you want inversions to be recognized, you must set the property
2002 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
2004 @mudela[fragment,verbatim,center]
2006 \property Score.chordInversion = ##t
2007 \context ChordNameVoice \notes {
2010 \context Thread \notes {
2020 @cindex printing!lyrics
2022 @node lyricprint, , , Reference Manual
2024 Lyric syllables must be interpreted within a @code{Lyrics} context
2026 @cindex context!Lyrics
2029 Here is a full example:
2036 \notes \transpose c'' {
2038 e f g2 | e4 f g2 \bar "|.";
2040 \context Lyrics \lyrics {
2041 Va-4 der Ja- cob Va- der Ja- cob
2042 Slaapt gij nog?2 Slaapt4 gij nog?2
2050 You may want a continuous line after the syllables to show melismata.
2051 To achieve this effect, add a `@code{__}' lyric as a separate word
2052 after the lyric to be extended. This will create an extender, a line
2053 that extends over the entire duration of the lyric. This line will
2054 run all the way to the start of the next lyric, so you may want to
2055 shorten it by using a blank lyric (using `@code{_}').
2062 \notes \relative c'' {
2063 a4 () b () c () d | c () d () b () a | c () d () b () a
2065 \context Lyrics \lyrics {
2066 foo1 __ | bar2. __ _4 | baz1 __
2075 If you want to have hyphens centered between syllables (rather than
2076 attached to the end of the first syllable) you can use the special
2077 `@code{-}@code{-}' lyric as a separate word between syllables. This
2078 will result in a hyphen which length varies depending on the space
2079 between syllables, and which will be centered between the syllables.
2087 \notes \transpose c'' {
2089 e f g2 | e4 f g2 \bar "|.";
2091 \context Lyrics \lyrics {
2092 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2093 Slaapt gij nog?2 | Slaapt4 gij nog?2
2103 @node Notation Contexts, , , Reference Manual
2104 @section Notation Contexts
2106 @cindex notation contexts
2108 Notation contexts are objects that only exist during a run of
2109 LilyPond. During the interpretation phase of LilyPond, the Music
2110 expression contained in a @code{\score} block is interpreted in time
2111 order. This is the order in which humans read, play, and write
2114 A context is an object that holds the reading state of the
2115 expression; it contains information like
2118 @item What notes are playing at this point?
2119 @item What symbols will be printed at this point?
2120 @item In what style will they printed?
2121 @item What is the current key signature, time signature, point within
2125 Contexts are grouped hierarchically: A @code{Voice} context is
2126 contained in a @code{Staff} context (because a staff can contain
2127 multiple voices at any point), a @code{Staff} context is contained in
2128 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2129 these can all contain multiple staffs).
2131 Contexts associated with sheet music output are called @emph{notation
2132 contexts}, those for sound output are called playing contexts.
2134 Contexts are created either manually or automatically. Initially,
2135 the top level music expression is interpreted by the top level
2136 context (the @code{Score} context). When a atomic music expression
2137 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2138 set of contexts is created that can process these atomic expressions,
2144 \score @{ \notes < c4 > @}
2149 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2150 context. When the note `@code{c4}' itself is interpreted, a set of
2151 contexts is needed that will accept notes. The default for this is a
2152 @code{Voice} context, contained in a @code{Staff} context. Creation of
2153 these contexts results in the staff being printed.
2158 You can also create contexts manually, and you probably have to do so
2159 if you want to typeset complicated multiple part material. If a
2160 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2161 during the interpretation phase, the @var{musicexpr} argument will be
2162 interpreted with a context of type @var{name}. If you specify a name,
2163 the specific context with that name is searched.
2165 If a context of the specified type and name can not be found, a new
2166 one is created. For example,
2172 \notes \relative c'' {
2173 c4 <d4 \context Staff = "another" e4> f
2180 In this example, the @code{c} and @code{d} are printed on the
2181 default staff. For the @code{e}, a context Staff called
2182 `@code{another}' is specified; since that does not exist, a new
2183 context is created. Within @code{another}, a (default) Voice context
2184 is created for the @code{e4}. When all music referring to a
2185 context is finished, the context is ended as well. So after the
2186 third quarter, @code{another} is removed.
2188 Almost all music expressions inherit their interpretation context
2189 from their parent. In other words, suppose that the syntax for a
2194 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2197 When the interpretation of this music expression starts, the context
2198 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2201 Lastly, you may wonder, why this:
2207 \notes \relative c'' @{
2215 doesn't result in this:
2220 \notes \relative c'' {
2227 For the @code{c4}, a default @code{Staff} (with a contained
2228 @code{Voice}) context is created. After the @code{c4} ends, no
2229 music refers to this default staff, so it would be ended, with the
2230 result shown. To prevent this inconvenient behavior, the context to
2231 which the sequential music refers is adjusted during the
2232 interpretation. So after the @code{c4} ends, the context of the
2233 sequential music is also the default @code{Voice} context.
2234 The @code{d4} gets interpreted in the same context
2239 These are the contexts supplied with the package. They are defined
2240 in the initialization file @file{ly/engraver.ly}.
2247 Properties that are set in one context are inherited by all of the
2248 contained contexts. This means that a property valid for the
2249 @code{Voice} context can be set in the @code{Score} context (for
2250 example) and thus take effect in all @code{Voice} contexts.
2252 Properties can be preset within the @code{\translator} block
2253 corresponding to the appropriate context. In this case, the syntax
2258 @var{propname} @code{=} @var{value}
2261 This assignment happens before interpretation starts, so a
2262 @code{\property} expression will override any predefined settings.
2264 The @code{\property} expression will create any property you specify.
2265 There is no guarantee that a property will be used. So if you spell
2266 a property name wrong, there will be no error message.
2268 The property settings are used during the interpretation phase. They
2269 are read by the LilyPond modules where interpretation contexts are
2270 built of. These modules are called @emph{translators}. Translators for
2271 notation are called @emph{engravers}, and translators for sound are
2272 called @emph{performers}.
2274 The precise result of a property is determined by the implementation
2275 of the translator that reads them. Therefore, the result of a
2276 property can vary, since it is implementation and configuration
2279 In order to fully find out what properties are used, you must
2280 currently search the source code for calls to @code{get_property}.
2281 The rest of the section is devoted to an (incomplete) overview of
2282 available properties.
2284 @mbinclude properties.itely
2286 @node Notation output definitions, , , Reference Manual
2287 @section Notation output definitions
2291 @cindex notation output
2293 @cindex output definition
2295 @node paper, , , Reference Manual
2297 The most important output definition is the @code{\paper} block, for
2298 music notation. The syntax is
2302 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2305 where each of the items is one of
2308 @item An assignment. The assignment must be terminated by a
2309 semicolon. See section XREF-papervars [FIXME] for information on
2312 @item A context definition. See section XREF-contextdefs [FIXME] for
2313 more information on context definitions.
2318 A margin shape declaration. The syntax is
2322 \shape @var{indent1}@code{,} @var{width1}@code{,}
2323 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2328 Each pair of @var{indent} and @var{width} values is a dimension
2329 specifying how far to indent and how wide to make the line.
2330 The indentation and width of successive lines are specified by
2331 the successive pairs of dimensions. The last pair of
2332 dimensions will define the characeristics of all lines beyond
2333 those explicitly specified.
2335 @item \stylesheet declaration. Its syntax is
2338 \stylesheet @var{scm}
2342 See font.scm for details of @var{scm}
2347 @cindex changing font size and paper size
2349 The Feta font provides musical symbols at six different sizes. These
2350 fonts are 11 point, 13 point, 16 point, 20 point,
2351 23 point, and 26 point. The point size of a font is the
2352 height of the five lines in a staff when displayed in the font.
2354 Definitions for these sizes are the files @file{paperSZ.ly}, where
2355 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2356 any of these files, the identifiers @code{paper_eleven},
2357 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2358 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2359 respectively. The default @code{\paper} block is also set.
2361 To change the paper size, you must first set the
2362 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2363 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2364 you must set the font as described above. If you want the default
2365 font, then use the 20 point font. The new paper size will not
2366 take effect if the font is not loaded and selected afterwards. Paper
2367 size selection works by loading a file named after the paper size you
2372 @cindex paper variables
2374 @node Paper variables, , , Reference Manual
2376 There is a large number of paper variables that are used to control
2377 details of the layout. These variables control the defaults for the
2378 entire score. Usually, they do not have to be changed; they are by
2379 default set to values that depend on the font size in use. The
2380 values are used by the graphic objects while formatting the score;
2381 they are therefore implementation dependent. Most variables are
2382 accompanied by documentation in the initalization file
2383 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2386 Nevertheless, here are some variables you may want to use or change:
2389 @item @code{indent}@indexcode{indent}
2390 The indentation of the first line of music.
2392 @item @code{staffspace}@indexcode{staffspace}
2393 The distance between two staff lines, calculated from the center
2394 of the lines. You should use either this or @code{rulethickness}
2395 as a unit for distances you modify.
2397 @item @code{linewidth}@indexcode{linewidth}
2398 Sets the width of the lines. If set to -1.0, a single
2399 unjustified line is produced.
2401 @item @code{textheight}@indexcode{textheight}
2402 Sets the total height of the music on each page. Only used by
2405 @item @code{interscoreline}@indexcode{interscoreline}
2406 Sets the spacing between the score lines. Defaults to 16 pt.
2408 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2409 If set to a positive number, the distance between the score
2410 lines will stretch in order to fill the full page. In that
2411 case @code{interscoreline} specifies the minimum spacing.
2414 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2415 Determines the thickness of staff and bar lines.
2419 @node contextdefs, , , Reference Manual
2421 @cindex context definition
2423 A notation contexts is defined by the following information
2428 @item The LilyPond modules that do the actual conversion of music to
2429 notation. Each module is a so-called
2434 @item How these modules should cooperate, i.e. which ``cooperation
2435 module'' should be used. This cooperation module is a special
2438 @item What other contexts the context can contain,
2440 @item What properties are defined.
2443 A context definition has this syntax:
2447 \translator @code{@{}
2448 @var{translatorinit} @var{translatormodifierlist}
2452 @var{translatorinit} can be an identifier or of the form
2456 \type @var{typename} @code{;}
2459 @var{typename} is one of
2462 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2463 The standard cooperation engraver.
2465 @item @code{Score_engraver}@indexcode{Score_engraver}
2466 This is cooperation module that should be in the top level context.
2468 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2469 This is a special cooperation module (resembling
2470 @code{Score_engraver}) that is used to created an embedded
2474 @var{translatormodifierlist} is a list of items where each item is
2478 @item @code{\consists} @var{engravername} @code{;}
2479 Add @var{engravername} to the list of modules in this context.
2480 Section XREF-engravers [FIXME] contains an overview of the engravers
2481 available. The order of engravers added with @code{\consists} is
2484 @item @code{\consistsend} @var{engravername} @code{;}
2485 Analogous to @code{\consists}, but makes sure that
2486 @var{engravername} is always added to the end of the list of
2489 Some engraver types need to be at the end of the list; this
2490 insures they are put there, and stay there, if a user adds or
2491 removes engravers. This command is usually not needed for
2494 @item @code{\accepts} @var{contextname} @code{;}
2495 Add @var{contextname} to the list of context this context can
2496 contain. The first listed context the context to create by
2499 @item @code{\remove} @var{engravername} @code{;}
2500 Remove a previously added (with @code{\consists}) engraver.
2502 @item @code{\name} @var{contextname} @code{;}
2503 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2504 the name is not specified, the translator won't do anything.
2506 @item @var{propname} @code{=} @var{value} @code{;}
2507 A property assignment. It is allowed to use reals for
2511 In the @code{\paper} block, it is also possible to define translator
2512 identifiers. Like other block identifiers, the identifier can only
2513 be used as the very first item of a translator. In order to define
2514 such an identifier outside of @code{\score}, you must do
2520 foo = \translator @{ @dots{} @}
2527 \translator @{ \foo @dots{} @}
2535 @cindex paper types, engravers, and pre-defined translators
2537 Some pre-defined identifiers can simplify modification of
2538 translators. The pre-defined identifiers are:
2541 @item @code{StaffContext}@indexcode{StaffContext}
2542 Default Staff context.
2544 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2545 Default RhythmicStaff context.
2547 @item @code{VoiceContext}@indexcode{VoiceContext}
2548 Default Voice context.
2550 @item @code{ScoreContext}@indexcode{ScoreContext}
2551 Default Score context.
2553 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2554 Score context with numbering at the Score level.
2556 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2557 Staff context with numbering at the Staff level.
2559 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2560 Staff context that does not print if it only contains rests.
2561 Useful for orchestral scores.@footnote{Harakiri, also called
2562 Seppuku, is the ritual suicide of the Samourai.}
2564 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2566 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2569 Using these pre-defined values, you can remove or add items to the
2578 \remove Some_engraver;
2579 \consists Different_engraver;
2587 @node Sound output, , , Reference Manual
2588 @section Sound output
2592 The MIDI block is analogous to the paper block, but it is simpler.
2593 The @code{\midi} block can contain:
2597 @item a @code{\tempo} definition
2598 @item context definitions
2601 Assignments in the @code{\midi} block are not allowed.
2605 @cindex context definition
2607 Context definitions follow precisely the same syntax as within the
2608 \paper block. Translation modules for sound are called performers.
2609 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2613 @cindex MIDI instrument names
2615 @node midilist, , , Reference Manual
2617 The MIDI instrument name is set by the
2618 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2619 if that property is not set, the
2620 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2621 instrument name should be chosen from the following list. If the
2622 selected string does not exactly match, then LilyPond uses the default
2628 "acoustic grand" "contrabass" "lead 7 (fifths)"
2629 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2630 "electric grand" "pizzicato strings" "pad 1 (new age)"
2631 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2632 "electric piano 1" "timpani" "pad 3 (polysynth)"
2633 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2634 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2635 "clav" "synthstrings 1" "pad 6 (metallic)"
2636 "celesta" "synthstrings 2" "pad 7 (halo)"
2637 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2638 "music box" "voice oohs" "fx 1 (rain)"
2639 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2640 "marimba" "orchestra hit" "fx 3 (crystal)"
2641 "xylophone" "trumpet" "fx 4 (atmosphere)"
2642 "tubular bells" "trombone" "fx 5 (brightness)"
2643 "dulcimer" "tuba" "fx 6 (goblins)"
2644 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2645 "percussive organ" "french horn" "fx 8 (sci-fi)"
2646 "rock organ" "brass section" "sitar"
2647 "church organ" "synthbrass 1" "banjo"
2648 "reed organ" "synthbrass 2" "shamisen"
2649 "accordion" "soprano sax" "koto"
2650 "harmonica" "alto sax" "kalimba"
2651 "concertina" "tenor sax" "bagpipe"
2652 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2653 "acoustic guitar (steel)" "oboe" "shanai"
2654 "electric guitar (jazz)" "english horn" "tinkle bell"
2655 "electric guitar (clean)" "bassoon" "agogo"
2656 "electric guitar (muted)" "clarinet" "steel drums"
2657 "overdriven guitar" "piccolo" "woodblock"
2658 "distorted guitar" "flute" "taiko drum"
2659 "guitar harmonics" "recorder" "melodic tom"
2660 "acoustic bass" "pan flute" "synth drum"
2661 "electric bass (finger)" "blown bottle" "reverse cymbal"
2662 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2663 "fretless bass" "whistle" "breath noise"
2664 "slap bass 1" "ocarina" "seashore"
2665 "slap bass 2" "lead 1 (square)" "bird tweet"
2666 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2667 "synth bass 2" "lead 3 (calliope)" "helicopter"
2668 "violin" "lead 4 (chiff)" "applause"
2669 "viola" "lead 5 (charang)" "gunshot"
2670 "cello" "lead 6 (voice)"
2676 @cindex MIDI types and performers
2678 The types available for MIDI translators are:
2681 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2682 @item @code{Score_performer}@indexcode{Score_performer}
2683 @item @code{Staff_performer}@indexcode{Staff_performer}
2686 The performers for MIDI translators are:
2689 @item @code{Key_performer}@indexcode{Key_performer}
2690 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2691 @item @code{Note_performer}@indexcode{Note_performer}
2692 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2693 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2698 @node Pre-defined Identifiers, , , Reference Manual
2700 @section Pre-defined Identifiers
2702 @cindex pre-defined identifiers
2705 Various identifiers are defined in the initialization files to
2706 provide shorthands for some settings. Most of them are in
2707 @file{ly/declarations.ly}.
2710 @item @code{\break}@keyindex{break}
2711 Force a line break in music by using a large argument for the
2712 keyword @code{\penalty}.
2714 @item @code{\center}@keyindex{center}
2715 Used for setting direction properties. Equals 0.
2717 @item @code{\down}@keyindex{down}
2718 Used for setting direction setting properties. Is equal
2721 @item @code{\free}@keyindex{free}
2722 Used for setting direction setting properties. Is equal
2725 @item @code{\left}@keyindex{left}
2726 Used for setting text alignment property. Is equal to -1.
2728 @item @code{\nobreak}@keyindex{nobreak}
2729 Prevent a line break in music by using a large negative argument
2730 for the keyword @code{\penalty}.
2732 @item @code{\none}@keyindex{none}
2733 Used for setting @code{Score.beamslopedamping} and
2734 @code{Score.beamquantisation} properties. Is equal to 0.
2736 @item @code{\normal}@keyindex{normal}
2737 Used for setting @code{Score.beamslopedamping} and
2738 @code{Score.beamquantisation} properties. Is equal to 1.
2740 @item @code{\normalkey}@keyindex{normalkey}
2741 Select normal key signatures where each octave has the same key
2742 signature. This sets the @code{Staff.keyoctaviation} property.
2744 @item @code{\right}@keyindex{right}
2745 Used for setting text alignment property. Is set to 1.
2747 @item @code{\shiftoff}@keyindex{shiftOff}
2748 Disable horizontal shifting of note heads that collide. Sets the
2749 @code{Voice.horizontalNoteShift} property.
2751 @item @code{\shiftOn}@keyindex{shiftOn}
2752 Enable note heads that collide with other note heads to be
2753 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2756 @item @code{\slurBoth}@keyindex{slurBoth}
2757 Allow slurs to be above or below notes. This sets the
2758 @code{Voice.slurVerticalDirection} property.
2760 @item @code{\slurDown}@keyindex{slurDown}
2761 Force slurs to be below notes. This sets the
2762 @code{Voice.slurVerticalDirection} property.
2764 @item @code{\slurUp}@keyindex{slurUp}
2765 Force slurs to be above notes. This sets the
2766 @code{Voice.slurVerticalDirection} property.
2768 @item @code{\specialkey}@keyindex{specialkey}
2769 Allow key signatures do differ in different octaves. This sets
2770 the @code{Staff.keyoctaviation} property.
2772 @item @code{\stemBoth}@keyindex{stemBoth}
2773 Allow stems, beams, and slurs to point either upwards or
2774 downwards, decided automatically by LilyPond. This sets the
2775 @code{Voice.verticalDirection} property.
2777 @item @code{\stemdown}@keyindex{stemdown}
2778 Force stems, beams, and slurs to point down. This sets the
2779 @code{Voice.verticalDirection} property.
2781 @item @code{\stemUp}@keyindex{stemUp}
2782 Force stems, beams and slurs to point up. This sets the
2783 @code{Voice.verticalDirection} property.
2785 @item @code{\traditional}@keyindex{traditional}
2786 Used for setting the @code{Score.beamquantisation} property. Is
2789 @item @code{\up}@keyindex{up}
2790 Used for setting various direction properties. Is equal