@node Reference Manual @chapter Reference Manual @menu * Overview:: Overview * Top level:: Top level * notenames:: * Lexical conventions:: Lexical conventions * Other languages:: * modes:: * Types:: Types * Music expressions:: Music expressions * Atomic music expressions:: Atomic music expressions * Note specification:: * barlines:: * Manual beams:: * stem tremolo:: * Compound music expressions:: Compound music expressions * relative:: * Repeats:: * transpose:: * Ambiguities:: Ambiguities * Notation conversion specifics:: * autobeam:: * lyricprint:: * Notation Contexts:: Notation Contexts * Properties:: * Notation output definitions:: Notation output definitions * paper:: * Paper variables:: * contextdefs:: * engravers:: * Sound output:: Sound output * midilist:: @end menu @node Overview @section Overview This document@footnote{This document has been revised for LilyPond 1.2.} describes the the GNU LilyPond input format, which is a language for defining music. We call this language @emph{Music Definition Language} or @emph{Mudela}, for short.@footnote{If anybody comes up with a better name, we'd gladly take this. Gourlay already uses a ``Musical Description Language,'' ISO standard 10743 defines a ``Standard Music Description Language.'' We're not being original here.} @emph{Mudela} is a language that allows you to @itemize @bullet @item create musical expressions by combining pitches, durations @item output those musical expressions to various formats @item give those musical expressions and output definitions names, so you can enter them in manageable chunks. @end itemize @emph{Mudela} aims to define a piece of music completely, both from typesetting and from a performance point of view. @node Top level @section Top level @cindex top level This section describes what you may enter at top level. @cindex score definition The output is generated combining a music expression with an output definition. A score block has the following syntax: @example \score @{ @var{musicexpr} @var{outputdefs} @} @end example @var{outputdefs} are zero or more output definitions. If no output definition is supplied, the default @code{\paper} block will be added. @cindex header @keyindex{header} The syntax is @example \header @{ @var{key1} = @var{val1}; @var{key2} = @var{val2}; @dots{} @} @end example A header describes the file's contents. It can also appear in a @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this information for generating titles. Key values that are used by @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument, metre, arranger, piece and tagline. It is customary to put the @code{\header} at the top of the file. @node notenames @section notenames Note name tables can be specified using @example \notenames@keyindex{notenames} @{ @var{assignmentlist} @} @end example @var{assignmentlist} is a list of definitions of the form @example @var{name} = @var{pitch} @end example Chord modifiers can be set analogously, with @code{\chordmodifiers}@keyindex{chordmodifiers}. A @code{\paper} block at top level sets the default paper block. A @code{\midi} block at top level works similarly. LilyPond contains a Scheme interpreter (the GUILE library) for internal use. The following commands access the interpreter directly. @example \scm @keyindex{scm} @var{scheme} ; @end example Evaluates the specified Scheme code. The result is discarded. @example \scmfile@keyindex{scmfile} @var{filename}; @end example Reads Scheme code from the specified file. The result is discarded. Identifier assignments may appear at top level. Semicolons are forbidden after top level assignments. @node Lexical conventions @section Lexical conventions @cindex lexical conventions @cindex comment @indexcode{%} A one line comment is introduced by a `@code{%}' character. Block comments are started by `@code{%@{}' and ended by `@code{%@}}'. They cannot be nested. @cindex keyword Keywords start with a backslash, followed by a number of lower case alphabetic characters. These are all the keywords. @example \accepts \addlyrics \alternative \bar \breathe \chordmodifiers \chords \clef \cm \consists \consistsend \context \duration \font \grace \header \in \key \keysignature \lyrics \mark \midi \mm \musicalpitch \name \notenames \notes \paper \partial \penalty \property \pt \relative \remove \repeat \repetitions \scm \scmfile \score \script \sequential \simultaneous \skip \spanrequest \tempo \textscript \time \times \translator \transpose \type @end example @cindex integer Formed from an optional minus sign followed by digits. Arithmetic operations cannot be done with integers, and integers cannot be mixed with reals. @cindex real Formed from an optional minus sign and a sequence of digits followed by a @emph{required} decimal point and an optional exponent such as @code{-1.2e3}. Reals can be built up using the usual operations: `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and `@code{/}@indexcode{/}', with parentheses for grouping. A real constant can be followed by one of the dimension keywords: @cindex dimensions @code{\mm}@keyindex{mm}, @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or @code{\cm}@keyindex{cm}, for millimeters, points, inches and centimeters, respectively. This converts the number to a real that is the internal representation of dimensions. @cindex string Begins and ends with the `@code{"}' character. To include a `@code{"}' character in a string write `@code{\"}'. Various other backslash sequences have special interpretations as in the C language. A string that contains no spaces can be written without the quotes. See section XREF-modes [FIXME] for details on unquoted strings; their interpretation varies depending on the situation. Strings can be concatenated with the `@code{+}' operator. The tokenizer accepts the following commands. They can appear anywhere. @example \maininput@keyindex{maininput} @end example This command is used in init files to signal that the user file must be read. This command cannot be used in a user file. @example \include@keyindex{include} @var{file} @end example Include @var{file}. The argument @var{file} may be a quoted string (an unquoted string will not work here!) or a string identifier. The full filename including the @file{.ly} extension must be given, @example \version@keyindex{version} @var{string} ; @end example Specify the version of LilyPond that a file was written for. The argument is a version string in quotes, for example @code{"1.2.0"}. This is used to detect invalid input, and to aid @code{convert-mudela}, a tool that automatically upgrades input files. @cindex other languages @node Other languages @section Other languages Note name definitions have been provided in various languages. Simply include the language specific init file. For example: `@code{\include "english.ly"}'. The available language files and the names they define are: @example Note Names sharp flat nederlands.ly c d e f g a bes b -is -es english.ly c d e f g a bf b -s/-sharp -f/-flat deutsch.ly c d e f g a b h -is -es norsk.ly c d e f g a b h -iss/-is -ess/-es svenska.ly c d e f g a b h -iss -ess italiano.ly do re mi fa sol la sid si -d -b catalan.ly do re mi fa sol la sid si -d/-s -b @end example Pitch names can be redefined using the @code{\notenames}@keyindex{notenames} command, see subsection XREF-notenames [FIXME]. @cindex lexical modes @cindex modes @node modes @section modes To simplify entering notes, lyrics, and chords, @emph{Mudela} has three special input modes on top of the default mode. In each mode, words are identified on the input. If @code{"word"} is encountered, it is treated as a string. If @code{\word} is encountered, it is treated as a keyword or as an identifier. The behavior of the modes differs in two ways: Different modes treat unquoted words differently, and different modes have different rules for deciding what is a word. @table @code @item Normal mode. @cindex mode!normal At the start of parsing, @emph{Mudela} is in Normal mode. In Normal mode, a word is an alphabetic character followed by alphanumeric characters. If @code{word} is encountered on the input it is treated as a string. @item Note mode. @cindex mode!note Note mode is introduced by the keyword @code{\notes}@keyindex{notes}. In Note mode, words can only contain alphabetic characters. If @code{word} is encountered, LilyPond first checks for a notename of @code{word}. If no notename is found, then @code{word} is treated as a string. Since combinations of numbers and dots are used for indicating durations, it is not possible to enter real numbers in this mode. @item Chord mode. @cindex mode!chord Chord mode is introduced by the keyword @code{\chords}@keyindex{chords}. It is similar to Note mode, but words are also looked up in a chord modifier table (containing @code{maj}, @code{dim}, etc). Since combinations of numbers and dots are used for indicating durations, you can not enter real numbers in this mode. Dashes and carets are used to indicate chord additions and subtractions, so scripts can not be entered in Chord mode. @item Lyrics mode. @cindex mode!lyric Lyrics mode is introduced by the keyword @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it easy to include punctuation and diacritical marks in words. A word in Lyrics mode begins with: an alphabetic character, `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the control characters @code{^A} through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code over 127, or a two-character combination of a backslash followed by one of `@code{`}', `@code{'}', `@code{"}', or `@code{^}'.@footnote{The purpose of Lyrics mode is that you can enter lyrics in @TeX{} format or a standard encoding without needing quotes. The precise definition of this mode indeed is ludicrous. This will remain so until the authors of LilyPond acquire a deeper understanding of character encoding, or someone else steps up to fix this.} Subsequent characters of a word can be any character that is not a digit and not white space. One important consequence of this is that a word can end with `@code{@}}', which may be confusing if you thought the closing brace was going to terminate Lyrics mode.@footnote{LilyPond will issue a warning, though.} Any `@code{_}' characters which appear in an unquoted word are converted to spaces. This provides a mechanism for introducing spaces into words without using quotes. Quoted words can also be used in Lyrics mode to specify words that cannot be written with the above rules. Here are some examples. Not all of these words are printable by @TeX{}. @example Ah! % a word 2B_||_!2B % not a word because it starts with a digit ``Hello'' % not a word because it starts with ` _ _ _ _ % 4 words, each one a space @end example Since combinations of numbers and dots are used for indicating durations, you can not enter real numbers in this mode. @end table It is possible to create words that break the rules by prefixing them with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a word beginning with `@code{$}' extends until the next white space character. Such words can contain numbers (even in Note mode), or other forbidden characters. The dollar sign can be used to create and access identifiers that could not otherwise be used.@footnote{Use of `@code{$}' hampers readability and portability to future LilyPond versions, thus the use of the dollar sign is discouraged.} @node Types @section Types @cindex types and identifiers @emph{Mudela} has a limited set of types: @itemize @bullet @item integers @item reals @item strings @item music expressions @item durations of notes and rests (specified with @code{\notenames}@keyindex{notenames}) @item note name tables @item context definitions, part of output definitions. See section XREF-contextdefs [FIXME] for more information @item output definitions (like @code{\paper}@keyindex{paper} blocks and @code{\midi}@keyindex{midi} blocks) @item score definitions (@code{\score}@keyindex{score} blocks) @end itemize Type is a syntactical property: @emph{Mudela} has no real type system, so there is no support for generic expressions, functions, or user defined types. For the same reason, it is not possible to mix reals and integers in arithmetic expressions, and ``type errors'' @cindex type error (e.g., using a string identifier to initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse error''. Identifiers allow objects to be assigned to names. To assign an identifier, you use `@var{name}=@var{value}' and to refer to an identifier, you preceed its name with a backslash: `@code{\}@var{name}'. Identifier assignments must appear at top level in the @emph{Mudela} file. Semicolons are forbidden after assignments appearing at top level but they are obligatory after assignments appearing in the @code{\paper} block, see Section XREF-paper [FIXME]. @var{value} is any of the types listed above. An identifier can be created with any string for its name, but you will only be able to refer to identifiers whose names begin with a letter, being entirely alphanumeric. It is impossible to refer to an identifier whose name is the same as the name of a keyword. The right hand side of an identifier assignment is parsed completely before the assignment is done, so it is allowed to redefine an identifier in terms of its old value, e.g. @example foo = \foo * 2.0 @end example When an identifier is referenced, the information it points to is copied. Therefore it only makes sense to put identifiers for translators, output definitions, and @code{\score}@keyindex{score} blocks as the first item in a block. For this reason, if you reference a @code{\foo} variable in a @code{\foo} block, it must be the first item in the list following @code{\foo}.@footnote{@code{\paper@{\one \two@}} does not make sense, because the information of @code{\two} would overwrite the information of @code{\one}, thereby making the reference to the first identifier useless.} @node Music expressions @section Music expressions @cindex music expressions Music in @emph{Mudela} is entered as a music expression. Notes, rests, lyric syllables are music expressions (the atomic expressions) @cindex atomic music expressions , and you can combine music expressions to form new ones. This example forms a compound expressions out of the quarter @code{c} note and a @code{d} note: @example \sequential @{ c4 d4 @} @end example The meaning of this compound expression is to play the `@code{c}' first, and then the `@code{d}' (as opposed to playing them simultaneously, for instance). Atomic music expression are discussed in subsection XREF-atomicmusic [FIXME]. Compound music expressions are discussed in subsection XREF-compoundmusic [FIXME]. @node Atomic music expressions @section Atomic music expressions @cindex pitch @cindex duration The syntax for pitch specification is @example \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @} @end example @var{octave} is specified by an integer, zero for the octave containing middle C. @var{note} is a number from 0 to 7, with 0 corresponding to C and 7 corresponding to B. The shift is zero for a natural, negative to add flats, or positive to add sharps. In Note and Chord mode, pitches may be designated by names. See section XREF-notelang [FIXME] for pitch names in different languages. The syntax for duration specification is @example \duration@keyindex{duration} @{ @var{length} @var{dotcount} @} @end example @var{length} is the negative logarithm (base 2) of the duration: 1 is a half note, 2 is a quarter note, 3 is an eighth note, etc. The number of dots after the note is given by @var{dotcount}. In Note, Chord, and Lyrics mode, durations may be designated by numbers and dots. See Section XREF-notelang [FIXME] for details. @node Note specification @section Note specification @cindex note specification @cindex pitches @cindex entering notes A note specification has the form @example @var{pitch}[@var{octavespec}][!][?][@var{duration}] @end example The pitch of the note is specified by the note's name. The default names are the Dutch note names. The notes are specified by the letters `@code{c}' through `@code{b}', where `@code{c}' is an octave below middle C and the letters span the octave above that C. In Dutchcindex(notenames!Dutch), a sharp is formed by adding `@code{-is}' to the end of a pitch name. A flat is formed by adding `@code{-es}'. Double sharps and double flats are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will be accepted. LilyPond has predefined sets of notenames for various languages. See section XREF-notelang [FIXME] for details. The optional octave specification takes the form of a series of single quote (`@code{'}@indexcode{'}') characters or a series of comma (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one octave; each @code{,} lowers the pitch by an octave. @mudela[fragment,verbatim,center] c' d' e' f' g' a' b' c'' @end mudela @mudela[fragment,verbatim,center] cis' dis' eis' fis' gis' ais' bis' @end mudela @mudela[fragment,verbatim,center] ces' des' es' fes' ges' as' bes' @end mudela @mudela[fragment,verbatim,center] cisis' eisis' gisis' aisis' beses' @end mudela @mudela[fragment,verbatim,center] ceses' eses' geses' ases' beses' @end mudela Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond will determine what accidentals to typeset depending on the key and context. A reminder accidental @cindex reminder accidental can be forced by adding an exclamation mark `@code{!}' after the pitch. A cautionary accidental, @cindex cautionary accidental i.e., an accidental within parentheses can be obtained by adding the question mark `@code{?}@indexcode{?}' after the pitch. @mudela[fragment,verbatim,center] cis' d' e' cis' c'? d' e' c'! @end mudela @cindex duration Durations are entered as their reciprocal values. For notes longer than a whole note, use identifiers. @quotation @example c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 @end example @end quotation @quotation @mudela[] \score { \notes \relative c'' { a\longa a\breve a1 a2 a4 a8 a16 a32 a64 a64 } \paper { %{ \translator { \StaffContext \remove "Clef_engraver"; \remove "Staff_symbol_engraver"; } %} } } @end mudela @end quotation @quotation @example r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example @end quotation @quotation @mudela[] \score { \notes \relative c'' { r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 } \paper { loose_column_distance = 2.5 * \interline; linewidth = -1.0; \translator { \type "Score_engraver"; \name "Score"; \consists "Rest_engraver"; \consists "Stem_engraver"; \consists "Rhythmic_column_engraver"; } } } @end mudela @end quotation If the duration is omitted then it is set equal to the previous duration. If there is no previous duration, a quarter note is assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}') to obtain dotted note lengths. @mudela[fragment,verbatim,center] a'4. b'4. @end mudela You can alter the length of duration by writing `@code{*}@var{fraction}' after it. This will not affect the appearance of note heads or rests. Rests are entered like notes, with note name `@code{r}@indexcode{r}', or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}', which produces a space of the specified duration. `@code{R}' is specifically meant for entering parts: the @code{R} rest can expand to fill a score with rests, or it can be printed as a single multimeasure rest. @cindex lyrics expressions Syllables are entered like notes, with pitches replaced by text. For example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each with quarter note duration. Note that the hyphen has no special meaning for lyrics, and does not introduce special symbols. See section XREF-modes [FIXME] for a description of what is interpreted as lyrics. Spaces can be introduced into a lyric either by using quotes (`@code{"}') or by using an underscore without quotes: `@code{He_could4 not4}'. All unquoted underscores are converted to spaces. Printing lyrics is discussed in section XREF-lyricprint [FIXME]. @cindex properties @example \property@keyindex{property} @var{contextname}.@var{propname} = @var{value} @end example Sets the @var{propname} property of the context @var{contextname} to the specified @var{value}. All three arguments are strings. Depending on the context, it may be necessary to quote the strings or to leave space on both sides of the dot. @cindex translator switches @example \translator@keyindex{translator} @var{contexttype} = @var{name} @end example A music expression indicating that the context which is a direct child of the a context of type @var{contexttype} should be shifted to a context of type @var{contexttype} and the specified name. Usually this is used to switch staffs in Piano music, e.g. @example \translator Staff = top @var{Music} @end example @cindex output properties These allow you to tweak what is happening in the back-end directly. If you want to control every detail of the output formatting, this is the feature to use. The downside to this is that you need to know exactly how the backend works. Example: @mudela[fragment,verbatim] \relative c'' { c4 \context Staff \outputproperty #(make-type-checker 'Note_head) #'extra-offset = #'(5.0 . 7.5) } @end mudela This selects all note heads occurring at current staff level, and sets the extra-offset of those heads to (5,7.5), shifting them up and right. Use of this feature is entirely on your own risk: if you use this, the result will depend very heavily on the implentation of the backend, which we change unscrupulously. @cindex commands Commands are music expressions that have no duration. @example @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;} @end example Change the key signature. @var{type} should be @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get @var{pitch}-major or @var{pitch}-minor, respectively. The second argument is optional; the default is major keys. The @var{\context} argument can also be given as an integer, which tells the number of semitones that should be added to the pitch given in the subsequent @code{\key}@keyindex{key} commands to get the corresponding major key, e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard mode names @code{\ionian}@keyindex{ionian}, @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian}, @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian}, @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian} are also defined. @example @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;} @end example Specify an arbitrary key signature. The pitches from @var{pitch} will be printed in the key signature in the order that they appear on the list. @example \mark@keyindex{mark} @var{unsigned}; \mark @var{string}; @end example Prints a mark over or under (depending on the @code{markDirection}@indexcode{markDirection} property) the staff. You must add @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for this to work. @node barlines @section barlines @example \bar@keyindex{bar} @var{bartype}; @end example This is a request to print a special bar symbol. It replaces the regular bar symbol with a special symbol. The argument @var{bartype} is a string which specifies the kind of bar to print. Options are @code{":|"} @cindex "|A@@@code{:|} , @code{"|:"} @cindex "|B@@@code{|:} , @code{":|:"} @cindex "|C@@@code{:|:} , @code{"||"} @cindex "|D@@@code{||} , @code{"|."} @cindex "|E@@@code{|.} , @code{".|"} @cindex "|F@@@code{.|} , and @code{".|."} @cindex "|G@@@code{.|.} . These produce, respectively, a right repeat, a left repeat, a double repeat, a double bar, a start bar, an end bar, and a thick double bar. If @var{bartype} is set to @code{"empty"} then nothing is printed, but a line break is allowed at that spot. You are encouraged to use @code{\repeat} for repetitions. See section XREF-sec-repeats [FIXME]. @example \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;} @end example Change the time signature. The default time signature is 4/4. The time signature is used to generate bar lines. @example \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;} @end example Used to specify the tempo. For example, `@code{\tempo 4 = 76;}' requests output with 76 quarter notes per minute. @example \partial@keyindex{partial} @var{duration} @code{;} @end example @cindex anacrusis @cindex upstep This creates an incomplete measure (anacrusis, upbeat) at the start of the music, e.g., `@code{\partial 8*2;}' creates a starting measure lasting two eighth notes. @example @code{|}@indexcode{|} @cindex bar check @end example @cindex shorten measures @cindex upstep `@code{|}' is a barcheck. Whenever a barcheck is encountered during interpretation, a warning message is issued if it doesn't fall at a measure boundary. This can help you finding errors in the input. The beginning of the measure will be relocated, so this can also be used to shorten measures. @example \penalty@keyindex{penalty} @var{int} @code{;} @end example Discourage or encourage line breaks. See identifiers @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in section [on identifiers] [FIXME]. @example \clef@keyindex{clef} @var{clefname} @code{;} @end example Music expression that sets the current clef. The argument is a string which specifies the name of the clef. Several clef names are supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef name, then the clef lowered or raised an octave will be generated. Here are the supported clef names with middle C shown in each clef: @quotation @mudela[] \score { \notes { \cadenzaOn %\property Voice.textStyle = typewriter \clef subbass; c'4-"\kern -5mm subbass" \clef bass; c'4^"\kern -2mm bass" \clef baritone; c'4_"\kern -5mm baritone" \clef varbaritone; c'4^"\kern -6mm varbaritone" \clef tenor; c'4_"\kern -3mm tenor" \clef "G_8"; c'4^"\kern -2mm G\\_8" } \paper { linewidth = -1.0; } } @end mudela @end quotation @quotation @mudela[] \score { \notes { \cadenzaOn \clef alto; c'4_"\kern -2mm alto" \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano" \clef soprano; c'4_"\kern -6mm soprano" \clef treble; c'4^"\kern -4mm treble" \clef french; c'4_"\kern -4mm french" } \paper { linewidth = 4.5 \in; } } @end mudela @end quotation The three clef symbols can also be obtained using the names `@code{G}', `@code{C}' or `@code{F}', optionally followed by an integer which indicates at which note line the clef is located. An as example, the @code{mezzosoprano} clef can also be given as `@code{C2}'. @example \skip@keyindex{skip} @var{duration} @code{;} @end example Skips the amount of time specified by @var{duration}. If no other music is played, a gap will be left for the skipped time with no notes printed. It works in Note Mode or Lyrics Mode. In Note mode, this has the same effect as the space rest `@code{s}'. @cindex beams @node Manual beams @section Manual beams A beam is specified by surrounding the beamed notes with brackets `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'. @mudela[fragment,verbatim,center] [a'8 a'] [a'16 a' a' a'] @end mudela Some more elaborate constructions: @mudela[fragment,verbatim,center] [a'16 c'' ] \times 2/3 { [e'8 f' g'] } @end mudela Beaming can be generated automatically; see section XREF-autobeam [FIXME]. [OUTDATED, FIXME] To place tremolo marks @cindex tremolo beams between two notes, begin with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks will appear instead of beams. Putting more than two notes in such a construction will produce odd effects. To create tremolo beams on a single note, simply attach `@code{:}@var{length}' to the note itself (see also section XREF-tremolo [FIXME]). @ignore @mu dela[fragment,verbatim,center] [:16 e'1 g'] [:8 e'4 f'] @end mudela @mud ela[fragment,verbatim,center] c'4:32 [:16 c'8 d'8] @end mudela @end ignore @cindex --@@@code{-}@code{-} @indexcode{__} @cindex extender @cindex hyphen The syntax for an extender mark is `@code{__}'. This syntax can only be used within lyrics mode. The syntax for a spanning hyphen (i.e., a hyphen that will be printed between two lyric syllables) is `@code{-}@code{-}'. @cindex ties A tie connects two adjacent note heads of the same pitch. When used with chords, it connects all of the note heads whose pitches match. Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'. If you try to tie together chords which have no common pitches, a warning message will appear and no ties will be created. @mudela[fragment,verbatim,center] e' ~ e' ~ @end mudela [TODO: explain Requests] @cindex articulations @cindex scripts @cindex ornaments A variety of symbols can appear above and below notes to indicate different characteristics of the performance. These symbols can be added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols are defined in @file{script.ly} and @file{script.scm}. Symbols can be forced to appear above or below the note by writing `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing symbols above notes, with the name of the corresponding symbol appearing underneath. @mudela[] \score { < \notes { c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata c''-\stopped c''-\staccato c''-\tenuto c''-\upbow c''-\downbow c''^\lheel c''-\rheel c''^\ltoe c''-\rtoe c''-\turn c''-\open c''-\flageolet c''-\reverseturn c''-\trill c''-\prall c''-\mordent c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall c''-\thumb c''-\segno c''-\coda } \context Lyrics \lyrics { accent__ marcato__ staccatissimo__ fermata stopped__ staccato__ tenuto__ upbow downbow__ lheel__ rheel__ ltoe rtoe__ turn__ open__ flageolet reverseturn__ trill__ prall__ mordent prallprall__ prallmordent__ uprall__ downprall thumb__ segno__ coda } > \paper { linewidth = 5.875\in; indent = 0.0; } } @end mudela In addition, it is possible to place arbitrary strings of text or @TeX{} above or below notes by using a string instead of an identifier: `@code{c^"text"}'. Fingerings @cindex fingering can be placed by simply using digits. All of these note ornaments appear in the printed output but have no effect on the MIDI rendering of the music. To save typing, fingering instructions (digits 0 to 9 are supported) and single characters shorthands exist for a few common symbols @mudela[] \score { \notes { \property Voice.textStyle = typewriter c''4-._"c-." s4 c''4--_"c-{}-" s4 c''4-+_"c-+" s4 c''4-|_"c-|" s4 c''4->_"c->" s4 c''4-^_"c-\\^{ }" s4 c''4-1_"c-1" s4 c''4-2_"c-2" s4 c''4-3_"c-3" s4 c''4-4_"c-4" s4 } \paper { linewidth = 5.875 \in; indent = 0.0; } } @end mudela Dynamic marks are specified by using an identifier after a note: `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'. The available dynamic marks are: @code{\ppp}@keyindex{ppp}, @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp}, @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff}, @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff}, @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf}, @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp}, @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and @code{\rfz}@keyindex{rfz}. @example \textscript@keyindex{textscript} @var{text} @var{style} @end example Defines a text to be printed over or under a note. @var{style} is a string that may be one of @code{roman}, @code{italic}, @code{typewriter}, @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}. You can attach a general textscript request using this syntax: @quotation @example c4-\textscript "6" "finger" c4-\textscript "foo" "normal" @end example @end quotation This is equivalent to `@code{c4-6 c4-"foo"}'. @cindex scripts @example \script@keyindex{script} @var{alias} @end example Prints a symbol above or below a note. The argument is a string which points into the script-alias table defined in @file{script.scm}. The scheme definitions specify whether the symbol follows notes into the staff, dependence of symbol placement on staff direction, and a priority for placing several symbols over one note. Usually the @code{\script}@keyindex{script} keyword is not used directly. Various helpful identifier definitions appear in @file{script.ly}. @cindex slur Slurs connects chords and try to avoid crossing stems. A slur is started with `@code{(}' and stopped with `@code{)}'. The starting `@code{(}' appears to the right of the first note in the slur. The terminal `@code{)}' appears to the left of the first note in the slur. This makes it possible to put a note in slurs from both sides: @mudela[fragment,verbatim,center] f'()g'()a' [a'8 b'(] a'4 g'2 )f'4 @end mudela @cindex crescendo A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated with @code{\rc}@keyindex{rc}. A decrescendo mark is started with @code{\decr}@keyindex{decr} and terminated with @code{\rced}@keyindex{rced}. There are also shorthands for these marks. A crescendo can be started with @code{\<}@keyindex{<} and a decrescendo can be started with @code{\>}@keyindex{>}. Either one can be terminated with @code{\!}@keyindex{"!}. Note that @code{\!} must go before the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go after the last note. Because these marks are bound to notes, if you want to get several marks during one note, you must use spacer notes. @mudela[fragment,verbatim,center] c'' \< \! c'' d'' \decr e'' \rced < f''1 { s4 \< \! s2 \> \! s4 } > @end mudela @example \spanrequest@keyindex{spanrequest} @var{startstop} @var{type} @end example Define a spanning request. The @var{startstop} parameter is either -1 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and @var{type} is a string that describes what should be started. Supported types are @code{crescendo}, @code{decrescendo}, @code{beam}, @code{slur}. This is an internal command. Users should use the shorthands which are defined in the initialization file @file{spanners.ly}. You can attach a (general) span request to a note using @mudela[fragment,verbatim,center] c'4-\spanrequest \start "slur" c'4-\spanrequest \stop "slur" @end mudela The slur syntax with parentheses is a shorthand for this. @cindex tremolo marks @node stem tremolo @section stem tremolo Tremolo marks can be printed on a single note by adding `@code{:}[@var{length}]' after the note. The length must be at least 8. A @var{length} value of 8 gives one line across the note stem. If the length is omitted, then the last value is used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was no last value. @mudela[verbatim,fragment,center] c'2:8 c':32 @end mudela @node Compound music expressions @section Compound music expressions @cindex compound music expressions Music expressions are compound data structures. You can nest music expressions any way you like. This simple example shows how three chords can be expressed in two different ways: @mudela[fragment,verbatim,center] \notes \context Staff { \cadenzaOn < { a b c' } { c' d' e' } > } @end mudela @cindex context selection @c @keyindex{context} @example \context @var{contexttype} [= @var{contextname}] @var{musicexpr} @end example Interpret @var{musicexpr} within a context of type @var{contexttype}. If the context does not exist, it will be created. The new context can optionally be given a name. See section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more information on interpretation contexts. @cindex input modes @cindex mode switch Mode switching keywords form compound music expressions: @code{\notes} @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords} @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}. These expressions do not add anything to the meaning of their arguments. They are just a way to indicate that the arguments should be parsed in indicated mode. See section XREF-modes [FIXME] for more information on modes. More information on context selection can be found in section XREF-contextselection [FIXME]. @cindex sequential music @example \sequential@keyindex{sequential} @code{@{} @var{musicexprlist} @code{@}} @end example This means that list should be played or written in sequence, i.e., the second after the first, the third after the second. The duration of sequential music is the the sum of the durations of the elements. There is a shorthand, which leaves out the keyword: @example @code{@{} @var{musicexprlist} @code{@}} @end example @cindex simultaneous music @indexcode{<} @indexcode{>} @example \simultaneous@keyindex{simultaneous} @code{@{} @var{musicexprlist} @code{@}} @end example It constructs a music expression where all of its arguments start at the same moment. The duration is the maximum of the durations of the elements. The following shorthand is a common idiom: @example @code{<} @var{musicexprlist} @code{>} @end example If you try to use a chord as the first thing in your score, you might get multiple staffs instead of a chord. @mudela[verbatim,center] \score { \notes \paper { linewidth = -1.; } } @end mudela This happens because the chord is interpreted by a score context. Each time a note is encountered a default Voice context (along with a Staff context) is created. The solution is to explicitly instantiate a Voice context: @mudela[verbatim,center] \score { \notes\context Voice \paper { linewidth = -1.; } } @end mudela @cindex relative pitch specification @node relative @section relative It is easy to get confused by octave changing marks and accidentally putting a pitch in the wrong octave. A much better way of entering a note's octave is `the relative octave' mode. @example \relative@keyindex{relative} @var{startpitch} @var{musicexpr} @end example The octave of notes that appear in @var{musicexpr} are calculated as follows: If no octave changing marks are used, the basic interval between this and the last note is always taken to be a fourth or less.@footnote{The interval is determined without regarding accidentals. A @code{fisis} following a @code{ceses} will be put above the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}' can then be added to raise or lower the pitch by an extra octave. Upon entering relative mode, an absolute starting pitch must be specified that will act as the predecessor of the first note of @var{musicexpr}. Entering scales is straightforward in relative mode. @mudela[fragment,verbatim,center] \relative c' { c d e f g a b c c, } @end mudela And octave changing marks are used for intervals greater than a fourth. @mudela[fragment,verbatim,center] \relative c'' { c g c f, c' a, e'' } @end mudela If the preceding item is a chord, the first note of the chord is used to determine the first note of the next chord. But other notes within the second chord are determined by looking at the immediately preceding note. @mudela[fragment,verbatim,center] \relative c' { c } @end mudela The pitch after the @code{\relative} contains a notename. To parse the pitch as a notename, you have to be in note mode, so there must be a surrounding @code{\notes}@keyindex{notes} keyword (which is not shown here). The relative conversion will not affect @code{\transpose} or @code{\relative} sections in its argument. If you want to use relative within transposed music, you must place an additional @code{\relative} inside the @code{\transpose}. It is strongly recommended to use relative pitch mode: less work, less error-prone, and more readable. Chord names are a way to generate simultaneous music expressions that correspond with traditional chord names. It can only be used in Chord mode (see section XREF-modes [FIXME]). @example @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}]. @end example @var{tonic} should be the tonic note of the chord, and @var{duration} is the chord duration in the usual notation. There are two kinds of modifiers. One type is @emph{chord additions}, which are obtained by listing intervals separated by dots. An interval is written by its number with an optional `@code{+}' or `@code{-}' to indicate raising or lowering by half a step. Chord additions has two effects: It adds the specified interval and all lower odd numbered intervals to the chord, and it may lower or raise the specified interval. Intervals must be separated by a dot (`@code{.}'). @quotation @mudela[fragment,verbatim] \transpose c'' { \chords { c1 c:3- c:7 c:8 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8 } } @end mudela @end quotation The second type of modifier that may appear after the `@code{:}' is a named modifier. Named modifiers are listed in the file @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th, `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}' which replaces the 5th with a 4th. @quotation @mudela[fragment,verbatim] \transpose c'' { \chords { c1:m c:min7 c:maj c:aug c:dim c:sus } } @end mudela @end quotation Chord subtractions are used to eliminate notes from a chord. The notes to be subtracted are listed after a `@code{^}' character, separated by dots. @mudela[fragment,verbatim,center] \transpose c'' { \chords { c1^3 c:7^5.3 c:8^7 } } @end mudela Chord inversions can be specified by appending `@code{/}@indexcode{/}' and the name of a single note to a chord. This has the effect of lowering the specified note by an octave so it becomes the lowest note in the chord. If the specified note is not in the chord, a warning will be printed. @mudela[fragment,verbatim,center] \transpose c''' { \chords { c1 c/e c/g c:7/e } } @end mudela Bass notes can be added by `@code{/+}@indexcode{/+}' and the name of a single note to a chord. This has the effect of adding the specified note to the chord, lowered by an octave, so it becomes the lowest note in the chord. @mudela[fragment,verbatim,center] \transpose c''' { \chords { c1 c/+c c/+g c:7/+b } } @end mudela Throughout these examples, chords have been shifted around the staff using @code{\transpose}. You should not combine @code{\relative} with named chords. @cindex tuplets Tuplets are made out of a music expression by multiplying their duration with a fraction. @example \times@keyindex{times} @var{fraction} @var{musicexpr} @end example The duration of @var{musicexpr} will be multiplied by the fraction. In print, the fraction's denominator will be printed over the notes, optionally with a bracket. The most common tuplet is the triplet in which 3 notes have the length of 2, so the notes are 2/3 of their written length: @mudela[fragment,verbatim,center] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @end mudela @cindex grace notes @example \grace@keyindex{grace} @var{musicexpr} @end example A grace note expression has duration 0; the next real note is assumed to be the main note. You cannot have the grace note after the main note, in terms of duration, and main notes, but you can typeset the grace notes to the right of the main note using the property @code{graceAlignPosition}@indexcode{graceAlignPosition}. When grace music is interpreted, a score-within-a-score is set up: @var{musicexpr} has its own time bookkeeping, and you could (for example) have a separate time signature within grace notes. While in this score-within-a-score, you can create notes, beams, slurs, etc. Unbeamed eighth notes and shorter by default have a slash through the stem. This behavior can be controlled with the @code{stemStyle}@indexcode{stemStyle} property. @quotation @mudela[fragment,verbatim] \relative c'' { \grace c8 c4 \grace { [c16 c16] } c4 \grace { \property Grace.stemStyle = "" c16 } c4 } @end mudela @end quotation At present, nesting @code{\grace}@keyindex{grace} notes, e.g. @example @code{\grace @{ \grace c32 c16 @} c4} @end example may result in run-time errors of LilyPond. Since the meaning of such a construct is unclear, we don't consider this a loss. Similarly, juxtaposing two @code{\grace} sections is syntactically valid, but makes no sense and may cause runtime errors. Ending a staff or score with grace notes may also generate a run-time error, since there will be no main note to attach the grace notes to. @cindex repeats @node Repeats @section Repeats In order to specify repeats, use the @code{\repeat}@keyindex{repeat} keyword. Since repeats look and sound differently when played or printed, there are a few different variants of repeats. @table @code @item unfolded Repeated music is fully written (played) out. Useful for MIDI output. @item volta This is the normal notation: Repeats are not written out, but alternative endings (voltas) are printed, left to right. @item folded Alternative endings are written stacked, which is useful for lyrics. @end table The syntax for repeats is @example \repeat @var{variant} @var{repeatcount} @var{repeatbody} @end example If you have alternative endings, you may add @example \alternative@keyindex{alternative} @code{@{} @var{alternative1} @var{alternative2} @var{alternative3} @dots{} @code{@}} @end example where each @var{alternative} is a Music expression. Normal notation repeats are used like this: @quotation @mudela[fragment,verbatim] c'1 \repeat volta 2 { c'4 d' e' f' } \repeat volta 2 { f' e' d' c' } @end mudela @end quotation With alternative endings: @quotation @mudela[fragment,verbatim] c'1 \repeat volta 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end mudela @end quotation Folded repeats look like this:@footnote{Folded repeats offer little more over simultaneous music. However, it is to be expected that more functionality -- especially for the MIDI backend -- will be implemented.} @quotation @mudela[fragment,verbatim] c'1 \repeat fold 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end mudela @end quotation @quotation @mudela[fragment,verbatim] \context Staff { \relative c' { \partial 4; \repeat volta 2 { e | c2 d2 | e2 f2 | } \alternative { { g4 g g } { a | a a a a | b1 } } } } @end mudela @end quotation If you don't give enough alternatives for all of the repeats, then the first alternative is assumed to be repeated often enough to equal the specified number of repeats. @quotation @mudela[fragment,verbatim] \context Staff { \relative c' { \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | } \alternative { { g4 g g } {\partial 1; e4 e e } {\partial 1; a a a a | b1 } } } } @end mudela @end quotation It is possible to nest @code{\repeat}. This is not entirely supported: the notes will come be in the right places, but the repeat bars will not. @cindex transposition of pitches @node transpose @section transpose A music expression can be transposed with @code{\transpose}@keyindex{transpose}. The syntax is @example \transpose @var{pitch} @var{musicexpr} @end example This means that middle C in @var{musicexpr} is transposed to @var{pitch}. @code{\transpose} distinguishes between enharmonic pitches: both @code{\transpose cis'} or @code{\transpose des'} will transpose up half a tone. The first version will print sharps and the second version will print flats. @quotation @mudela[fragment,verbatim] \context Staff { \clef "F"; { \key e; c d e f } \clef "G"; \transpose des'' { \key e; c d e f } \transpose cis'' { \key e; c d e f } } @end mudela @end quotation If you want to use both @code{\transpose} and @code{\relative}, then you must use @code{\transpose} first. @code{\relative} will have no effect music that appears inside a @code{\transpose}. @cindex automatic lyric durations If you have lyrics that are set to a melody, you can import the rhythm of that melody into the lyrics using @code{\addlyrics}. @keyindex{addlyrics} The syntax for this is @example \addlyrics @var{musicexpr1 musicexpr2} @end example This means that both @var{musicexpr1} and @var{musicexpr2} are interpreted, but that every non-command atomic music expression (``every syllable'') in @var{musicexpr2} is interpreted using timing of @var{musicexpr1}. If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the context of @var{musicexpr1}, no lyrics will be put on slurred or tied notes. @quotation @mudela[verbatim,fragment] \addlyrics \transpose c'' { \property Voice.automaticMelismata = "1" c8 () cis d8. e16 f2 } \context Lyrics \lyrics { do4 re mi fa } @end mudela @end quotation You should use a single rhythm melody, and single rhythm lyrics (a constant duration is the obvious choice). If you do not, you will get undesired effects when using multiple stanzas: @quotation @mudela[verbatim,fragment] \addlyrics \transpose c'' { c8 () cis d8. e16 f2 } \context Lyrics \lyrics < { do4 re mi fa } { do8 re mi fa } > @end mudela @end quotation It is valid (but probably not very useful) to use notes instead of lyrics for @var{musicexpr2}. @node Ambiguities @section Ambiguities @cindex ambiguities The grammar contains a number of ambiguities.@footnote{The authors hope to resolve them at a later time.} @itemize @bullet @item The assignment @example foo = bar @end example can be interpreted as making a string identifier @code{\foo} containing @code{"bar"}, or a music identifier @code{\foo} containing the syllable `bar'. @item The assignment @example foo = -6 @end example can be interpreted as making an integer identifier containing -6, or a Request identifier containing the fingering `6' (with neutral direction). @item If you do a nested repeat like @quotation @example \repeat @dots{} \repeat @dots{} \alternative @end example @end quotation then it is ambiguous to which @code{\repeat} the @code{\alternative} belongs. This is the classic if-then-else dilemma. It may be solved by using braces. @item (an as yet unidentified ambiguity :-) @end itemize @node Notation conversion specifics @section Notation conversion specifics [todo] @cindex automatic beam generation @node autobeam @section autobeam By default, LilyPond will generate beams automatically. This feature can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1. It can be overridden for specific cases by specifying explicit beams as described in section XREF-manualbeam [FIXME]. A large number of Voice properties are used to decide how to generate beams. Their default values appear in @file{auto-beam-settings.ly}. In general, beams can begin anywhere, but their ending location is significant. Beams can end on a beat, or at durations specified by the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every quarter note, for example, you could set @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams at every three eighth notes you would set it to `@code{"3/8"}'. The same syntax can be used to specify beam starting points using @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}. To allow different settings for different time signatures, these property names can start with `@code{time}@var{N}@code{_}@var{M}' to restrict the definition to `@var{N}@code{/}@var{M}' time. For example, to specify beams ending only for 6/8 time you would use the property @code{Voice.time6_8beamAutoEnd}. To allow different endings for notes of different durations, the duration can be tacked onto the end of the property. To specify beam endings for beams that contain 32nd notes, you would use @code{Voice.beamAutoEnd_32}. @cindex chord names @cindex chords @cindex printing!chord names For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames} and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered either using the notation described above, or directly using simultaneous music. @quotation @mudela[fragment,verbatim] < \context ChordNames { \chords{a b c} \notes{ } } \context Staff \notes { a b c' d' e' } > @end mudela @end quotation LilyPond examines chords specified as lists of notes to determine a name to give the chord. By default, LilyPond will not try to identify chord inversions: @mudela[fragment,verbatim,center] < \context ChordNameVoice \notes { } \context Thread \notes { } > @end mudela If you want inversions to be recognized, you must set the property @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}: @mudela[fragment,verbatim,center] < \property Score.chordInversion = 1 \context ChordNameVoice \notes { } \context Thread \notes { } > @end mudela @cindex lyrics @cindex printing!lyrics @node lyricprint @section lyricprint Lyric syllables must be interpreted within a @code{Lyrics} context @cindex context!Lyrics for printing them. Here is a full example: @quotation @mudela[verbatim] \score { < \notes \transpose c'' { c d e c | c d e c | e f g2 | e4 f g2 \bar "|."; } \context Lyrics \lyrics { Va-4 der Ja- cob Va- der Ja- cob Slaapt gij nog?2 Slaapt4 gij nog?2 } > } @end mudela @end quotation You may want a continuous line after the syllables to show melismata. To achieve this effect, add a `@code{__}' lyric as a separate word after the lyric to be extended. This will create an extender, a line that extends over the entire duration of the lyric. This line will run all the way to the start of the next lyric, so you may want to shorten it by using a blank lyric (using `@code{_}'). @quotation @mudela[verbatim] \score { < \notes \relative c'' { a4 () b () c () d | c () d () b () a | c () d () b () a } \context Lyrics \lyrics { foo1 __ | bar2. __ _4 | baz1 __ } > } @end mudela @end quotation If you want to have hyphens centered between syllables (rather than attached to the end of the first syllable) you can use the special `@code{-}@code{-}' lyric as a separate word between syllables. This will result in a hyphen which length varies depending on the space between syllables, and which will be centered between the syllables. For example: @quotation @mudela[verbatim] \score { < \notes \transpose c'' { c d e c | c d e c | e f g2 | e4 f g2 \bar "|."; } \context Lyrics \lyrics { Va4 -- der Ja -- cob | Va -- der Ja -- cob | Slaapt gij nog?2 | Slaapt4 gij nog?2 } > } @end mudela @end quotation @node Notation Contexts @section Notation Contexts @cindex notation contexts Notation contexts are objects that only exist during a run of LilyPond. During the interpretation phase of LilyPond, the Music expression contained in a @code{\score} block is interpreted in time order. This is the order in which humans read, play, and write music. A context is an object that holds the reading state of the expression; it contains information like @itemize @bullet @item What notes are playing at this point? @item What symbols will be printed at this point? @item In what style will they printed? @item What is the current key signature, time signature, point within the measure, etc.? @end itemize Contexts are grouped hierarchically: A @code{Voice} context is contained in a @code{Staff} context (because a staff can contain multiple voices at any point), a @code{Staff} context is contained in a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because these can all contain multiple staffs). Contexts associated with sheet music output are called @emph{notation contexts}, those for sound output are called playing contexts. Contexts are created either manually or automatically. Initially, the top level music expression is interpreted by the top level context (the @code{Score} context). When a atomic music expression (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested set of contexts is created that can process these atomic expressions, as in this example: @example @example \score @{ \notes < c4 > @} @end example @end example The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score} context. When the note `@code{c4}' itself is interpreted, a set of contexts is needed that will accept notes. The default for this is a @code{Voice} context, contained in a @code{Staff} context. Creation of these contexts results in the staff being printed. @cindex context You can also create contexts manually, and you probably have to do so if you want to typeset complicated multiple part material. If a `@code{\context} @var{name} @var{musicexpr}' expression is encountered during the interpretation phase, the @var{musicexpr} argument will be interpreted with a context of type @var{name}. If you specify a name, the specific context with that name is searched. If a context of the specified type and name can not be found, a new one is created. For example, @quotation @mudela[verbatim] \score { \notes \relative c'' { c4 f } } @end mudela @end quotation In this example, the @code{c} and @code{d} are printed on the default staff. For the @code{e}, a context Staff called `@code{another}' is specified; since that does not exist, a new context is created. Within @code{another}, a (default) Voice context is created for the @code{e4}. When all music referring to a context is finished, the context is ended as well. So after the third quarter, @code{another} is removed. Almost all music expressions inherit their interpretation context from their parent. In other words, suppose that the syntax for a music expression is @example \keyword @var{musicexpr1} @var{musicexpr2} @dots{} @end example When the interpretation of this music expression starts, the context for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total expression. Lastly, you may wonder, why this: @quotation @example \score @{ \notes \relative c'' @{ c4 d4 e4 @} @} @end example @end quotation doesn't result in this: @mudela[] \score { \notes \relative c'' { } } @end mudela For the @code{c4}, a default @code{Staff} (with a contained @code{Voice}) context is created. After the @code{c4} ends, no music refers to this default staff, so it would be ended, with the result shown. To prevent this inconvenient behavior, the context to which the sequential music refers is adjusted during the interpretation. So after the @code{c4} ends, the context of the sequential music is also the default @code{Voice} context. The @code{d4} gets interpreted in the same context as @code{c4}. These are the contexts supplied with the package. They are defined in the initialization file @file{ly/engraver.ly}. @table @code @item @code{Grace}@indexcode{Grace} The context for handling grace notes. It is instantiated automatically when you use @code{\grace}. Basically, it is an `embedded' miniature of the Score context. Since this context needs special interaction with the rest of LilyPond, you should not explicitly instantiate it. @item @code{LyricVoice}@indexcode{LyricVoice} Corresponds to a voice with lyrics. Handles the printing of a single line of lyrics. @item @code{Thread}@indexcode{Thread} Handles note heads, and is contained in the Voice context. You have to instantiate this explicitly if you want to adjust the style of individual note heads. @item @code{Voice}@indexcode{Voice} Corresponds to a voice on a staff. This context handles the conversion of dynamic signs, stems, beams, super- and subscripts, slurs, ties, and rests. You have to instantiate this explicitly if you want to have multiple voices on the same staff. @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} A voice with chord names. Handles printing of a line of chord names. @item @code{ChordNames}@indexcode{ChordNames} Typesets chord names. Can contain @code{ChordNamesVoice} contexts. @item @code{Lyrics}@indexcode{Lyrics} Typesets lyrics. It can contain @code{LyricVoice} contexts. @item @code{Staff}@indexcode{Staff} Handles clefs, bar lines, keys, accidentals. It can contain @code{Voice} contexts. @item @code{RhythmicStaff}@indexcode{RhythmicStaff} A context like @code{Staff} but for printing rhythms. Pitches are ignored; the notes are printed on one line. It can contain @code{Voice} contexts. @item @code{GrandStaff}@indexcode{GrandStaff} Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a brace on the left side, grouping the staffs together. The bar lines of the contained staffs are connected vertically. It can contain @code{Staff} contexts. @item @code{PianoStaff}@indexcode{PianoStaff} Just like @code{GrandStaff} but with @code{minVerticalAlign} set equal to @code{maxVerticalAlign} so that interstaff beaming and slurring can be used. @item @code{StaffGroup}@indexcode{StaffGroup} Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a bracket on the left side, grouping the staffs together. The bar lines of the contained staffs are connected vertically. It can contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or @code{Lyrics} contexts. @item @code{ChoirStaff}@indexcode{ChoirStaff} Identical to @code{StaffGroup} except that the contained staffs are not connected vertically. @item @code{Score}@indexcode{Score} This is the top level notation context. No other context can contain a @code{Score} context. This context handles the administration of time signatures. It also makes sure that items such as clefs, time signatures, and key-signatures are aligned across staffs. It can contain @code{Lyrics}, @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and @code{ChoirStaff} contexts. You cannot explicitly instantiate a Score context (since it is not contained in any other context). It is instantiated automatically when an output definition (a @code{\score} or @code{\paper} block) is processed. @end table Properties that are set in one context are inherited by all of the contained contexts. This means that a property valid for the @code{Voice} context can be set in the @code{Score} context (for example) and thus take effect in all @code{Voice} contexts. Properties can be preset within the @code{\translator} block corresponding to the appropriate context. In this case, the syntax is @example @var{propname} @code{=} @var{value} @end example This assignment happens before interpretation starts, so a @code{\property} expression will override any predefined settings. The @code{\property} expression will create any property you specify. There is no guarantee that a property will be used. So if you spell a property name wrong, there will be no error message. The property settings are used during the interpretation phase. They are read by the LilyPond modules where interpretation contexts are built of. These modules are called @emph{translators}. Translators for notation are called @emph{engravers}, and translators for sound are called @emph{performers}. The precise result of a property is determined by the implementation of the translator that reads them. Therefore, the result of a property can vary, since it is implementation and configuration dependent. In order to fully find out what properties are used, you must currently search the source code for calls to @code{get_property}. The rest of the section is devoted to an (incomplete) overview of available properties. @node Properties @section Properties Properties are Scheme values, so they have a type. The type of a property is listed in parentheses after the property name. @macro propertytype{t} (\t\) @end macro TODO: @table @code @item @code{Generic_property_list} Defines names and types for generic properties. These are properties than can be plugged into the backend directly. See the init file @file{generic-property.scm} for details. For internal use only. @item @code{XXXVerticalExtent}@indexcode{groupVerticalExtent} @propertytype{Interval: a cons of numbers} Hard code the size of the vertical group in context XXX, example @example \property Staff.StaffVerticalExtent = #(-5.0 . 5.0) @end example The value is a cons of real numbers, that measure the extent in staff spaces. @end table @subsubheading Lyrics properties @cindex properties!Lyrics @table @code @item @code{textStyle}@indexcode{textStyle} @propertytype{string} Set the font for lyrics. The available font choices are @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large}, @code{typewriter}, and @code{finger}. The @code{finger} font can only display numbers. Note also that you must be careful when using @code{\property} in Lyrics mode, because of the way strings are parsed. Either put quotes around the arguments to @code{\property} or be sure to leave a space on both sides of the dot. @end table @subsubheading Thread properties @cindex properties!Thread @table @code @item @code{noteheadStyle}@indexcode{noteheadStyle} @propertytype{string} Selects type of note head. Choices are @code{cross}, @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}. They are shown in that order below. @mudela[center,verbatim] \score { \notes { \property Staff.barNonAuto = 1 \property Voice.noteHeadStyle = cross a' \property Voice.noteHeadStyle = diamond a' \property Voice.noteHeadStyle = harmonic a' \property Voice.noteHeadStyle = transparent a' \property Voice.noteHeadStyle = "" a' } \paper { linewidth = -1.; } } @end mudela @end table @subsubheading Grace properties @cindex properties!Grace @table @code @item @code{stemStyle}@indexcode{flagStyle} @propertytype{string} By default set to @code{"grace"} meaning that all unbeamed notes with flags are typeset with a slash through the flag. Setting to @code{""} gives standard flags. @mudela[verbatim] c'8 \property Voice.flagStyle = "grace" c'8 @end mudela @end table @subsubheading Voice properties @cindex properties!Voice @table @code @item @code{abbrev}@indexcode{abbrev} @propertytype{integer} Set length for tremolo to be used if no length is explicitly specified. @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding} Determines the extra space added between articulation marks, such as staccato, tenuto, trill, up/down bow or fermata, and the closest staff line or note. @item @code{articulationScriptVerticalDirection} @propertytype{direction} @indexcode{articulationScriptVerticalDirection} Determines the location of articulation marks. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. This property does not override explicit directions marked with `@code{^}' or `@code{_}' in the mudela file. @item @code{noAutoBeaming}@indexcode{beamAuto} @propertytype{boolean} If set to 1 then beams are not generated automatically. @item @code{beamAutoEnd}@indexcode{beamAutoEnd} @propertytype{?} Specifies when automatically generated beams can end. See section XREF-autobeam [FIXME]. @item @code{beamAutoBegin}@indexcode{beamAutoBegin} @propertytype{?} Specifies when automatically generated beams can start. See section XREF-autobeam [FIXME]. [outdated FIXME] @item @code{beamQuantisation}@indexcode{beamQuantisation} @propertytype{symbol} Set to @code{\none} for no quantization. Set to @code{\normal} to quantize position and slope. Set to @code{\traditional} to avoid wedges. These three settings are available via @code{\beamposfree}@keyindex{beamposfree}, @code{\beamposnormal}@keyindex{beamposnormal}, and @code{\beampostraditional}@keyindex{beampostraditional}. @item @code{beamSlopeDamping}@indexcode{beamSlopeDamping} @propertytype{number} Set to @code{\none} for undamped beams. Set to @code{\normal} for damped beams. Set to @code{\infinity} for beams with zero slope. The identifiers @code{\beamslopeproportional}@keyindex{beamslopeproportional}, @code{\beamslopedamped}@keyindex{beamslopedamped}, and @code{\beamslopezero}@keyindex{beamslopezero} each set the corresponding value. @item @code{dynamicDirection}@indexcode{dynamicDirection} @propertytype{direction} Determines location of dynamic marks. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. @item @code{dynamicStyle}@indexcode{dynamicStyle} @propertytype{string} Set the text style for dynamics. @item @code{fontSize}@indexcode{fontSize} @propertytype{number} Can be used to select smaller font sizes for music. The normal font size is 0, and the two smaller sizes are -1 and -2. @mudela[verbatim] c''16 \property Staff.fontSize = -2 c''16 @end mudela @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift} Force horizontal shift for collision resolution. It overrides automatic collision resolution. The value is the shift amount expressed in @code{note_width}, as set in the paper section. @item @code{collisionMergeDotted}@indexcode{collisionMergeDotted} @propertytype{boolean} Merge noteheads in collisions, even if they have a different number of dots. This normal notation for polyphonic guitar music. @mudelafile[verbatim]{force-hshift.ly} [FIXME: this should be moved] Lilypond always arranges note heads on alternate sides of a stem (that is, within a single voice) as necessary to prevent collisions (note head overlaps). For up stems, the upper note of a colliding pair is placed on the right side of the stem, the lower on the left. For down stems, the algorithm works in reverse. Lily also attempts to prevent collisions of note heads in different voices. A situation where chords of two or more voices are played simultaneously within one staff. By default, if only two voices (and both have opposite stem directions) are in this 'collision group', the notes both are shifted by @code{0.5 \quartwidth} if there are unisons or seconds between the voices. If there are more than two voices in a collision group, shifting is inactive by default, since in this case, there are multiple chords with the same stem direction. By distinguish between those chords, LilyPond can do collision resolution in these cases as well. Distinguishing between voices with the same stem direction, is done by setting the property @code{Voice.horizontalNoteShift}. It must be set to a different integer for each voice. Then, all note heads in collision groups (not just unisons and seconds) will be offset, one voice relative another. The following fragment of sheet music shows how shifting is done, with values of @code{horizontalNoteShift} printed over and under the notes. In this case the chords are just simple notes. @c URG : mudela book bug. @mudela[singleline,verbatim] \score { \notes \context Staff < \context Voice = VA { \stemup f''4^"0" } \context Voice = VB {\stemup \property Voice.horizontalNoteShift = 1 d''4^" 1" } \context Voice = VC { \stemup \property Voice.horizontalNoteShift = 2 b'4^" 2" } \context Voice = VD { \stemdown \property Voice.horizontalNoteShift = 1 g'4_"1 " } \context Voice = VE { \stemdown e'4_"0" } > } @end mudela If you are not satisfied with the collision resolution of LilyPond, you can override the horizontal shift value of the chord of one Voice, by setting @code{forceHorizontalShift}. This sets the amount shift, measured in black note head widths. To take complete control of note position shifts in complex passages, you have set things up for normal collisions and override all shifts by setting @code{forceHorizontalShift} to zero everywhere @example \property Voice.horizontalNoteShift = \property Voice.forceHorizontalShift = "0.0" @end example Then you can set the force property to a suitable value before each note that really needs it (unisons and seconds), and reset it to 0.0 after the note. @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift} @propertytype{integer} Enable LilyPond to shift notes horizontally if they collide with other notes. This is useful when typesetting many voices on one staff. The identifier @code{\shift}@keyindex{shift} is defined to enable this. Traditionally, the outer chords (the upmost and downmost voices), should have no @code{horizontalNoteShift}. @item @code{markScriptPadding}@indexcode{markScriptPadding} @propertytype{number} Determines the extra space added between the mark and the closest staff line or note. @item @code{markDirection}@indexcode{markDirection} @propertytype{direction} Determines if marks should be printed above or below the staff. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. @item @code{midiInstrument}@indexcode{midiInstrument} @propertytype{string} Sets the instrument for MIDI output. If this property is not set then LilyPond will use the @code{instrument} property. This must be set to one of the strings on the list of MIDI instruments that appears in section XREF-midilist [FIXME]. If you use a string which is not listed, LilyPond will silently substitute piano. @item @code{restStyle}@indexcode{restStyle} @propertytype{string} Change the layout of rests shorter than quarter notes. Currently, the standard layout @code{""} and mensural notation @code{"mensural"} are available. Mensural rests of duration 32 or shorter are not available. @mudela[verbatim] r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \property Staff.restStyle = "mensural" r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 @end mudela @item @code{scriptHorizontal}@indexcode{scriptHorizontal} @propertytype{boolean} Put scripts left or right of note heads. Support for this is limited. Accidentals will collide with scripts. @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection} @propertytype{direction} Set to @code{\free} for free choice of slur direction, set to @code{\up} to force slurs up, set to @code{\down} to force slurs down. The shorthands @code{\slurup}@keyindex{slurup}, @code{\slurdown}@keyindex{slurdown}, and @code{\slurboth}@keyindex{slurboth} are available. @item @code{slurDash}@indexcode{slurDash} @propertytype{number} Set to NIL for normal slurs, 1 for dotted slurs, and a larger value for dashed slurs. Identifiers @code{\slurnormal}@keyindex{slurnormal} and @code{\slurdotted}@keyindex{slurdotted} are predefined to set the first two settings. @mudela[verbatim] c4( )d \property Voice.slurDash = 3 c ( )e @end mudela @item @code{stemLength}@indexcode{stemLength} Set length of stems. Unit is `@code{interline}/2', so @code{stemLength} defaults to 7. @mudela[verbatim] g''4 \property Voice.stemLength = #14 g4 \property Voice.stemLength = #3 g4 g,,4 @end mudela @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount} @propertytype{integer} Specify the number of beams to draw on the left side of the next note. Overrides automatic beaming. The value is only used once, and then it is erased. @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount} @propertytype{integer} Specify the number of beams to draw on the right side of the next note. Overrides automatic beaming. The value is only used once, and then it is erased. @item @code{tieDash}@indexcode{tieDash} @propertytype{integer} Set dashing of ties. See also @code{slurDash} @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection} @propertytype{direction} Set to @code{\free} for free choice of tie direction, set to @code{\up} to force ties up, set to @code{\down} to force ties down. @item @code{transposing}@indexcode{transposing} @propertytype{integer} Transpose the MIDI output. Set this property to the number of half-steps to transpose by. @item @code{textEmptyDimension}@indexcode{textEmptyDimension} @propertytype{boolean} If set to true then text placed above or below the staff is assumed to have zero width. @code{fatText} and @code{emptyText} are predefined settings. @mudela[verbatim] c4^"foo" \emptyText c4^"foo" c4 @end mudela @item @code{textStyle}@indexcode{textStyle} @propertytype{string} Set the text style for superscripts and subscripts. See above for list of text styles. @item @code{textScriptPadding}@indexcode{textScriptPadding} @propertytype{number} Determines the extra space added between superscripted resp. subscripted text and the closest staff line or note. @item @code{verticalDirection}@indexcode{verticalDirection} @propertytype{direction} Determines the direction of stems, subscripts, beams, slurs, and ties. Set to @code{\down} to force them down, @code{\up} to force them up, or @code{\free} to let LilyPond decide. This can be used to distinguish between voices on the same staff. The @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup}, and @code{\stemboth}@keyindex{stemboth} identifiers set this property. @item @code{tupletDirection}@indexcode{tupletDirection} @propertytype{direction} Determines the direction of triplets and other tuplets. Set to @code{\down} to force them below the staff, @code{\up} to force them above, or @code{\free} to let LilyPond decide. @item @code{tupletBracketVisibility}@indexcode{tupletBracketVisibility} @propertytype{boolean} or @propertytype{symbol} @item @code{tupletNumberVisibility}@indexcode{tupletNumberVisibility} @propertytype{boolean} or @propertytype{symbol} These properties the visibility of the tuplet bracket and its number respectively. Setting it to false will prevent printing of the associated element. Setting the property to 'if-no-beam will make it print only if there is no beam associated with this tuplet bracket. [fixme examples] @item @code{tupletInvisible}@indexcode{tupletInvisible} @propertytype{boolean} If set to true, tuplet bracket creation is switched off entirely. This has the same effect as setting both @code{tupletNumberVisibility} and @code{tupletBracketVisibility} to @code{#f}, but as this does not even create elements, this setting uses less memory and time. @item @code{tupletSpannerDuration} @indexcode{tupletSpannerDuration} @propertytype{moment} Normally a tuplet bracket is as wide as the @code{\times} expression that gave rise to it. By setting this property, you can make brackets last shorter. Example @mudela[verbatim,fragment] \context Voice \times 2/3 { \property Voice.tupletSpannerDuration = #(make-moment 1 4) [c8 c c] [c c c] } @end mudela @end table @subsubheading Staff properties @cindex properties!Staff @table @code @item @code{barNonAuto}@indexcode{barNonAuto} @propertytype{boolean} If set to true then bar lines will not be printed automatically; they must be explicitly created with @code{\bar} keywords. Unlike with the @code{\cadenza} keyword, measures are still counted. Bar generation will resume according to that count if this property is set to zero. @item @code{barNumberDirection}@indexcode{barNumberDirection} @propertytype{direction} Set to @code{\up} or @code{\down} to put bar numbers above or below the staff. @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding} Sets extra space between the bar number and the bar it labels. @item @code{barSize}@indexcode{barSize} Specify the height of the bar lines if it should be different than the staff height. @mudela[verbatim] c1 c1 \property Staff.barSize = 20 c1 c1 @end mudela @item @code{barAtLineStart}@indexcode{barAtLineStart} @propertytype{boolean} Set to true to produce a bar line after the clef at the start of each line (but not at the beginning of the music). [BROKEN] @item @code{clefStyle}@indexcode{clefStyle} @propertytype{string} Determines how clefs are typeset. If set to @code{transparent}, the clefs are not printed at all, if set to @code{fullSizeChanges}, clef changes in the middle of a line are typeset with a full size clef. By default, clef changes are typeset in smaller size. @item @code{supportedClefTypes}@indexcode{supportedClefTypes} @propertytype{alist} Clef settings supported. The value is an association list clef descriptions indexed by clef name (alto, baritone, etc.). A clef description is a list with the glyph name, and the staff position where it should go. For internal use. @item @code{clefPitches}@indexcode{clefPitches} @propertytype{alist} Settings for the position of the central C, relative to this clef symbol. For internal use. @item @code{defaultClef}@indexcode{defaultClef} @propertytype{string} Clef setting to use when this context is created. If unset, no clef is printed upon creation. @item @code{marginDirection}@indexcode{marginDirection} @propertytype{direction} Set to @code{\left} or @code{\right} to specify location of marginal scripts. @item @code{marginScriptPadding}@indexcode{marginScriptPadding} Specify extra space for marginal scripts. @item @code{forgetAccidentals}@indexcode{forgetAccidentals} @propertytype{boolean} Causes accidentals to be printed at every note instead of remembered for the duration of a measure. @item @code{noResetKey}@indexcode{noResetKey} @propertytype{boolean} Do not reset the key at the start of a measure. Accidentals will be printed only once and are in effect until overridden, possibly many measures later. @item @code{staffSpace}@indexcode{staffLineLeading} @propertytype{number} Specifies the distance (in points) between lines of the staff. @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @propertytype{integer} Specifies the number of staff lines. The default is 5. @item @code{postBreakPadding}@indexcode{postBreakPadding} @propertytype{number} Extra space in points to be added after the clef, time signature and key signature on the staff. Deprecated, do not use. @item @code{noVoltaBraces}@indexcode{noVoltaBraces} @propertytype{boolean} Set to true to suppress the printing of brackets over alternate endings specified by the command @code{\alternative}. @item @code{barAlways}@indexcode{barAlways} @propertytype{boolean} If set to true a bar line is drawn after each note. @item @code{defaultBarType}@indexcode{defaultBarType} @propertytype{string} Sets the default type of bar line. See Section XREF-barlines [FIXME] for a list of available bar types. @item @code{instrument}, @code{instr} @propertytype{string} @indexcode{instrument}@indexcode{instr} If @code{Instrument_name_engraver} @cindex Instrument_name_engraver is added to the Staff translator, then the @code{instrument} property is used to label the first line of the staff and the @code{instr} property is used to label subsequent lines. If the @code{midiInstrument} property is not set, then @code{instrument} is used to determine the instrument for MIDI output. @item @code{keyOctaviation}@indexcode{keyOctaviation} @propertytype{boolean} If set to false, then keys are the same in all octaves. If set to true then the key signature for different octaves can be different and is specified independently: @example \keysignature bes fis' @end example The default value is @code{#f}. Can be set to @code{#t} with @code{\specialkey} or reset with @code{\normalkey}. @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle} @propertytype{string} Changes the default two-digit layout for time signatures. The following values are recognized: @table @code @item @code{C}@indexcode{C} 4/4 and 2/2 are typeset as C and struck C, respectively. All other time signatures are written with two digits. @item @code{old}@indexcode{old} 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are typeset with old-style mensuration marks. All other time signatures are written with two digits. @item @code{1}@indexcode{1} All time signatures are typeset with a single digit, e.g. 3/2 is written as 3. @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N}, @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or @code{old6/8alt}@indexcode{old6/8alt} Tells LilyPond to use a specific symbol as time signature. @end table The different time signature characters are shown below with its names: @mudela[center,verbatim] \score { \notes\relative c'' { \property Voice.textStyle = typewriter \property Staff.timeSignatureStyle = "C2/2" \time 2/2; a2^"C2/2" a2 \property Staff.timeSignatureStyle = "C4/4" \time 2/2; a2^"C4/4" a2 \property Staff.timeSignatureStyle = "old2/2" \time 2/2; a2^"old2/2" a2 \property Staff.timeSignatureStyle = "old3/2" \time 2/2; a2^"old3/2" a2 \property Staff.timeSignatureStyle = "old2/4" \time 2/2; a2^"old2/4" a2 \property Staff.timeSignatureStyle = "old4/4" \time 2/2; a2^"old4/4" a2 \property Staff.timeSignatureStyle = "old6/4" \time 2/2; a2^"old6/4" a2 \property Staff.timeSignatureStyle = "old9/4" \time 2/2; a2^"old9/4" a2 \property Staff.timeSignatureStyle = "old4/8" \time 2/2; a2^"old4/8" a2 \property Staff.timeSignatureStyle = "old6/8" \time 2/2; a2^"old6/8" a2 \property Staff.timeSignatureStyle = "old6/8alt" \time 2/2; a2^"old6/8alt" a2 \property Staff.timeSignatureStyle = "old9/8" \time 2/2; a2^"old9/8" a2 } \paper { linewidth = 4.5 \in; } } @end mudela @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration} @propertytype{moment} Set to an integer to control the size of the brackets printed by @code{\alternative}. The integer specifies the number of whole notes duration to use for the brackets. It is rounded to the nearest measure. This can be used to shrink the length of brackets in the situation where one alternative is very large. It may have odd effects if the specified duration is longer than the music given in an @code{\alternative}. @end table @subsubheading GrandStaff properties @cindex properties!GrandStaff @table @code @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign} @propertytype{number} Set the maximum vertical distance between staffs. @item @code{minVerticalAlign}@indexcode{minVerticalAlign} @propertytype{number} Set the minimum vertical distance between staffs. @end table @subsubheading Score properties @cindex properties!Score @table @code @item @code{skipBars}@indexcode{skipBars} @propertytype{boolean} Set to 1 to skip the empty bars that are produced by multimeasure notes and rests. These bars will not appear on the printed output. Set to zero (the default) to expand multimeasure notes and rests into their full length, printing the appropriate number of empty bars so that synchronization with other voices is preserved. @quotation @mudela[fragment,verbatim,center] r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3 @end mudela @end quotation @item @code{breakAlignOrder}@indexcode{breakAlignOrder} @propertytype{list of string} Defines the order in which prefatory matter (clefs, key signatures) appears, eg. this puts the key signatures after the bar lines: @example \property Score.breakAlignOrder = #'( "Span_bar" "Breathing_sign" "Clef_item" "Staff_bar" "Key_item" "Time_signature" ) @end example @item @code{timing}@indexcode{timing} @propertytype{boolean} Keep administration of measure length, position, bar number, etc? Switch off for cadenzas. @item @code{currentBarNumber}@indexcode{currentBarNumber} @propertytype{integer} Contains the current barnumber. This property is incremented at every barline. @item @code{measurePosition}@indexcode{measurePosition} @propertytype{Moment} How much of the current measure (measured in whole notes) have we had? @item @code{oneBeat}@indexcode{oneBeat} @propertytype{Moment} How long does one beat in the current time signature last? @item @code{measureLength}@indexcode{measureLength} @propertytype{Moment} How long does one measure in the current time signature last? @end table @subsubheading ChordNamesVoice properties @cindex properties!ChordNamesVoice @table @code @item @code{chordInversion}@indexcode{chordInversion} @propertytype{boolean} Determines whether LilyPond should look for chord inversions when translating from notes to chord names. Set to 1 to find inversions. The default is 0 which does not look for inversions. @end table @node Notation output definitions @section Notation output definitions @cindex output @cindex notation output @cindex output definition @node paper @section paper The most important output definition is the @code{\paper} block, for music notation. The syntax is @example @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}} @end example where each of the items is one of @itemize @bullet @item An assignment. The assignment must be terminated by a semicolon. See section XREF-papervars [FIXME] for information on paper variables. @item A context definition. See section XREF-contextdefs [FIXME] for more information on context definitions. @item FIXME now in SCM A margin shape declaration. The syntax is @example \shape @var{indent1}@code{,} @var{width1}@code{,} @var{indent2}@code{,} @var{width2} @dots{} @code{;} @end example @keyindex{shape} Each pair of @var{indent} and @var{width} values is a dimension specifying how far to indent and how wide to make the line. The indentation and width of successive lines are specified by the successive pairs of dimensions. The last pair of dimensions will define the characeristics of all lines beyond those explicitly specified. @item A font declaration. Its syntax is @example @var{fontsize} @code{=} \font@keyindex{font} @var{fontname} @end example @var{fontsize} is an integer describing the font to be used. 0 is the default font. @var{fontname} is the basename of a font (usually a member of the Feta family). @end itemize @cindex changing font size and paper size The Feta font provides musical symbols at six different sizes. These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26 point. The point size of a font is the height of the five lines in a staff when displayed in the font. Definitions for these sizes are the files @file{paperSZ.ly}, where @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of these files, the identifiers @code{paper_eleven}, @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty}, @code{paper_twentythree}, and @code{paper_twentysix} are defined respectively. The default @code{\paper} block is also set. To change the paper size, you must first set the @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings @code{a4}, @code{letter}, or @code{legal}. After this specification, you must set the font as described above. If you want the default font, then use the 20 point font. The new paper size will not take effect if the font is not loaded and selected afterwards. Paper size selection works by loading a file named after the paper size you select. @cindex paper variables @node Paper variables @section Paper variables There is a large number of paper variables that are used to control details of the layout. These variables control the defaults for the entire score. Usually, they do not have to be changed; they are by default set to values that depend on the font size in use. The values are used by the graphic objects while formatting the score; they are therefore implementation dependent. Most variables are accompanied by documentation in the initalization file @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff height in points. Nevertheless, here are some variables you may want to use or change: @table @code @item @code{indent}@indexcode{indent} The indentation of the first line of music. @item @code{interline}@indexcode{interline} The distance between two staff lines, calculated from the center of the lines. You should use either this or @code{rulethickness} as a unit for distances you modify. @item @code{linewidth}@indexcode{linewidth} Sets the width of the lines. If set to -1.0, a single unjustified line is produced. @item @code{output}@indexcode{output} Specifies an alternate name for the the output @file{s}. A @file{.tex}, @file{.midi} or @file{.ps} extension will be added to the string you specify. @item @code{rulethickness}@indexcode{rulethickness} Determines the thickness of staff and bar lines. @end table @node contextdefs @section contextdefs @cindex context definition A notation contexts is defined by the following information @enumerate i @item A name. @item The LilyPond modules that do the actual conversion of music to notation. Each module is a so-called @emph{engraver} @cindex engraver . @item How these modules should cooperate, i.e. which ``cooperation module'' should be used. This cooperation module is a special type of engraver. @item What other contexts the context can contain, @item What properties are defined. @end enumerate A context definition has this syntax: @example \translator @code{@{} @var{translatorinit} @var{translatormodifierlist} @code{@}} @end example @var{translatorinit} can be an identifier or of the form @example \type @var{typename} @code{;} @end example @var{typename} is one of @table @code @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} The standard cooperation engraver. @item @code{Score_engraver}@indexcode{Score_engraver} This is cooperation module that should be in the top level context. @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group} This is a special cooperation module (resembling @code{Score_engraver}) that is used to created an embedded `miniscore'. @end table @var{translatormodifierlist} is a list of items where each item is one of @itemize @bullet @item @code{\consists} @var{engravername} @code{;} Add @var{engravername} to the list of modules in this context. Section XREF-engravers [FIXME] contains an overview of the engravers available. The order of engravers added with @code{\consists} is significant. @item @code{\consistsend} @var{engravername} @code{;} Analogous to @code{\consists}, but makes sure that @var{engravername} is always added to the end of the list of engravers. Some engraver types need to be at the end of the list; this insures they are put there, and stay there, if a user adds or removes engravers. This command is usually not needed for end-users. @item @code{\accepts} @var{contextname} @code{;} Add @var{contextname} to the list of context this context can contain. The first listed context the context to create by default. @item @code{\remove} @var{engravername} @code{;} Remove a previously added (with @code{\consists}) engraver. @item @code{\name} @var{contextname} @code{;} This sets name of the context, e.g. @code{Staff}, @code{Voice}. If the name is not specified, the translator won't do anything. @item @var{propname} @code{=} @var{value} @code{;} A property assignment. It is allowed to use reals for @var{value}. @end itemize In the @code{\paper} block, it is also possible to define translator identifiers. Like other block identifiers, the identifier can only be used as the very first item of a translator. In order to define such an identifier outside of @code{\score}, you must do @quotation @example \paper @{ foo = \translator @{ @dots{} @} @} \score @{ \notes @{ @dots{} @} \paper @{ \translator @{ \foo @dots{} @} @} @} @end example @end quotation @cindex paper types, engravers, and pre-defined translators Some pre-defined identifiers can simplify modification of translators. The pre-defined identifiers are: @table @code @item @code{StaffContext}@indexcode{StaffContext} Default Staff context. @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} Default RhythmicStaff context. @item @code{VoiceContext}@indexcode{VoiceContext} Default Voice context. @item @code{ScoreContext}@indexcode{ScoreContext} Default Score context. @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} Score context with numbering at the Score level. @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} Staff context with numbering at the Staff level. @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext} Staff context that does not print if it only contains rests. Useful for orchestral scores.@footnote{Harakiri, also called Seppuku, is the ritual suicide of the Samourai.} @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext} @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext} @end table Using these pre-defined values, you can remove or add items to the translator: @quotation @example \paper @{ \translator @{ \StaffContext \remove Some_engraver; \consists Different_engraver; @} @} @end example @end quotation @node engravers @section engravers The engravers for paper output are: [incomplete, FIXME] @table @code @item @code{Bar_engraver}@indexcode{Bar_engraver} Engraves bar lines. Normally in @code{Staff} and @code{RhythmicStaff}. @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver} Engrave bar numbers. These numbers appear at the start of each line. Not normally in any translator. Can be added to @code{Score} for score-wide numbering or to @code{Staff} for numbering on each staff. @item @code{Beam_engraver}@indexcode{Beam_engraver} Handles beam requests by engraving beams. Normally appears in the @code{Voice} translator. If omitted, then notes will be printed with flags instead of beams. @item @code{Beam_req_swallow_translator} @indexcode{Beam_req_swallow_translator} Swallows beam requests. In @code{LyricVoice}. @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver} Engraves chord names. Normally in @code{ChordNameVoice} . @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver} @item @code{Clef_engraver}@indexcode{Clef_engraver} Engraves the clef symbol. Normally in @code{Staff}. @item @code{Collision_engraver}@indexcode{Collision_engraver} @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver} Engraves dots on dotted notes shifted to the right of the note. Normally in @code{Voice}. If omitted, then dots appear on top of the notes. @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver} Engraves dynamics symbols. Normally in @code{Voice}. @item @code{Font_size_engraver}@indexcode{Font_size_engraver} @item @code{Key_engraver}@indexcode{Key_engraver} Engraves the key signature. Normally in @code{Staff}. @item @code{Local_key_engraver}@indexcode{Local_key_engraver} @item @code{Lyric_engraver}@indexcode{Lyric_engraver} Engraves lyrics. Normally in @code{LyricVoice}. @item @code{Multi_measure_rest_engraver} @indexcode{Multi_measure_rest_engraver} Engraves multi-measure rests that are produced with @code{R}. Normally in @code{Voice}. @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver} @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver} Treat all pitches as middle C. Used in @code{RhythmicStaff}. Note that the notes move, but the locations of accidentals stay the same. @item @code{Priority_horizontal_align_engraver} @indexcode{Priority_horizontal_align_engraver} @item @code{Repeat_engraver}@indexcode{Repeat_engraver} Handles repeats? In @code{Staff} and @code{RhythmicStaff}. @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver} Handles collisions of rests. In @code{Staff}. @item @code{Rest_engraver}@indexcode{Rest_engraver} Engraves rests. Normally in @code{Voice}. @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver} @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver} @item @code{Script_engraver}@indexcode{Script_engraver} Handles note ornaments generated by @code{\script}. Normally in @code{Voice}. @item @code{Separating_line_group_engraver} @indexcode{Separating_line_group_engraver} @item @code{Skip_req_swallow_translator} @indexcode{Skip_req_swallow_translator} @item @code{Slur_engraver}@indexcode{Slur_engraver} Engraves slurs. Normally in @code{Voice}. @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver} Engraves lines across multiple staffs. Normally in @code{Staffgroup} and @code{GrandStaff}. Removing this from @code{StaffGroup} gives the definition of @code{ChoirStaff}. @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver} @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver} @item @code{Instrument_name_engraver}@indexcode{Instrument_name_engraver} Prints the name of the instrument (specified by @code{Staff.instrument} and @code{Staff.instr}) at the left of the staff. @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver} @item @code{Stem_engraver}@indexcode{Stem_engraver} Engraves stems. Normally in @code{Voice}. @item @code{Ties_engraver}@indexcode{Ties_engraver} Engraves ties. Normally in @code{Voice}. @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver} Engraves the time signature. Normally in @code{Staff} and @code{RhythmicStaff}. @item @code{Timing_engraver}@indexcode{Timing_engraver} Responsible for synchronizing timing information from staffs. Normally in @code{Score}. In order to create polyrhythmic music, this engraver should be removed from @code{Score} and placed in @code{Staff}. @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver} Engraves tuplet brackets? In @code{Staff}. @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver} @end table @node Sound output @section Sound output The MIDI block is analogous to the paper block, but it is simpler. The @code{\midi} block can contain: @cindex MIDI block @itemize @bullet @item a @code{\tempo} definition @item context definitions @end itemize Assignments in the @code{\midi} block are not allowed. @cindex context definition Context definitions follow precisely the same syntax as within the \paper block. Translation modules for sound are called performers. The contexts for MIDI output are defined in @file{ly/performer.ly}. @cindex MIDI instrument names @node midilist @section midilist The MIDI instrument name is set by the @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or, if that property is not set, the @code{Staff.instrument}@indexcode{Staff.instrument} property. The instrument name should be chosen from the following list. If the selected string does not exactly match, then LilyPond uses the default piano. @c @quotation @example "acoustic grand" "contrabass" "lead 7 (fifths)" "bright acoustic" "tremolo strings" "lead 8 (bass+lead)" "electric grand" "pizzicato strings" "pad 1 (new age)" "honky-tonk" "orchestral strings" "pad 2 (warm)" "electric piano 1" "timpani" "pad 3 (polysynth)" "electric piano 2" "string ensemble 1" "pad 4 (choir)" "harpsichord" "string ensemble 2" "pad 5 (bowed)" "clav" "synthstrings 1" "pad 6 (metallic)" "celesta" "synthstrings 2" "pad 7 (halo)" "glockenspiel" "choir aahs" "pad 8 (sweep)" "music box" "voice oohs" "fx 1 (rain)" "vibraphone" "synth voice" "fx 2 (soundtrack)" "marimba" "orchestra hit" "fx 3 (crystal)" "xylophone" "trumpet" "fx 4 (atmosphere)" "tubular bells" "trombone" "fx 5 (brightness)" "dulcimer" "tuba" "fx 6 (goblins)" "drawbar organ" "muted trumpet" "fx 7 (echoes)" "percussive organ" "french horn" "fx 8 (sci-fi)" "rock organ" "brass section" "sitar" "church organ" "synthbrass 1" "banjo" "reed organ" "synthbrass 2" "shamisen" "accordion" "soprano sax" "koto" "harmonica" "alto sax" "kalimba" "concertina" "tenor sax" "bagpipe" "acoustic guitar (nylon)" "baritone sax" "fiddle" "acoustic guitar (steel)" "oboe" "shanai" "electric guitar (jazz)" "english horn" "tinkle bell" "electric guitar (clean)" "bassoon" "agogo" "electric guitar (muted)" "clarinet" "steel drums" "overdriven guitar" "piccolo" "woodblock" "distorted guitar" "flute" "taiko drum" "guitar harmonics" "recorder" "melodic tom" "acoustic bass" "pan flute" "synth drum" "electric bass (finger)" "blown bottle" "reverse cymbal" "electric bass (pick)" "skakuhachi" "guitar fret noise" "fretless bass" "whistle" "breath noise" "slap bass 1" "ocarina" "seashore" "slap bass 2" "lead 1 (square)" "bird tweet" "synth bass 1" "lead 2 (sawtooth)" "telephone ring" "synth bass 2" "lead 3 (calliope)" "helicopter" "violin" "lead 4 (chiff)" "applause" "viola" "lead 5 (charang)" "gunshot" "cello" "lead 6 (voice)" @end example @c @end quotation @cindex MIDI types and performers The types available for MIDI translators are: @table @code @item @code{Performer_group_performer}@indexcode{Performer_group_performer} @item @code{Score_performer}@indexcode{Score_performer} @item @code{Staff_performer}@indexcode{Staff_performer} @end table The performers for MIDI translators are: @table @code @item @code{Key_performer}@indexcode{Key_performer} @item @code{Time_signature_performer}@indexcode{Time_signature_performer} @item @code{Note_performer}@indexcode{Note_performer} @item @code{Lyric_performer}@indexcode{Lyric_performer} @item @code{Swallow_performer}@indexcode{Swallow_performer} @end table @node Pre-defined Identifiers @section Pre-defined Identifiers @cindex pre-defined identifiers Various identifiers are defined in the initialization files to provide shorthands for some settings. Most of them are in @file{ly/declarations.ly}. @table @code @item @code{\break}@keyindex{break} Force a line break in music by using a large argument for the keyword @code{\penalty}. @item @code{\center}@keyindex{center} Used for setting direction properties. Equals 0. @item @code{\down}@keyindex{down} Used for setting direction setting properties. Is equal to -1. @item @code{\free}@keyindex{free} Used for setting direction setting properties. Is equal to 0. @item @code{\left}@keyindex{left} Used for setting text alignment property. Is equal to -1. @item @code{\nobreak}@keyindex{nobreak} Prevent a line break in music by using a large negative argument for the keyword @code{\penalty}. @item @code{\none}@keyindex{none} Used for setting @code{Score.beamslopedamping} and @code{Score.beamquantisation} properties. Is equal to 0. @item @code{\normal}@keyindex{normal} Used for setting @code{Score.beamslopedamping} and @code{Score.beamquantisation} properties. Is equal to 1. @item @code{\normalkey}@keyindex{normalkey} Select normal key signatures where each octave has the same key signature. This sets the @code{Staff.keyoctaviation} property. @item @code{\right}@keyindex{right} Used for setting text alignment property. Is set to 1. @item @code{\shiftoff}@keyindex{shiftoff} Disable horizontal shifting of note heads that collide. Sets the @code{Voice.horizontalNoteShift} property. @item @code{\shifton}@keyindex{shifton} Enable note heads that collide with other note heads to be shifted horiztonally. Sets the @code{Voice.horizontalNoteShift} property. @item @code{\slurboth}@keyindex{slurboth} Allow slurs to be above or below notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\slurdown}@keyindex{slurdown} Force slurs to be below notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\slurup}@keyindex{slurup} Force slurs to be above notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\specialkey}@keyindex{specialkey} Allow key signatures do differ in different octaves. This sets the @code{Staff.keyoctaviation} property. @item @code{\stemboth}@keyindex{stemboth} Allow stems, beams, and slurs to point either upwards or downwards, decided automatically by LilyPond. This sets the @code{Voice.verticalDirection} property. @item @code{\stemdown}@keyindex{stemdown} Force stems, beams, and slurs to point down. This sets the @code{Voice.verticalDirection} property. @item @code{\stemup}@keyindex{stemup} Force stems, beams and slurs to point up. This sets the @code{Voice.verticalDirection} property. @item @code{\traditional}@keyindex{traditional} Used for setting the @code{Score.beamquantisation} property. Is equal to 2. @item @code{\up}@keyindex{up} Used for setting various direction properties. Is equal to 1. @end table