@c -*-texinfo-*- @c TODO: @c - Reinsert subsection commands that were lost in the @c ancient conversion from YODL! /MB @c - Restructure! Separate internal commands from user level commands. /MB @c - Add some words about Guile. /MB @c - Fix indexing (keyindex) so it doesn't add line breaks /MB @c @c FIXME: Index has two alphabetically sorted lists @code vs plain? @c @c If we'd include the auto-generated documentation, we 'd get a lot of @c very useful index entries. @c @node Reference Manual @chapter Reference Manual @menu * Overview:: Overview * Top level:: Top level * Pitch names:: Pitch names * Lexical conventions:: Lexical conventions * Other languages:: Note names in various languages * Lexical modes:: modes * Types:: Types * Music expressions:: Music expressions * Atomic music expressions:: Atomic music expressions * Note specification:: notedesc * barlines:: barlines * Manual beams:: Manual beam * stem tremolo:: tremolo * Compound music expressions:: Compound music expressions * relative:: relative * Repeats:: Repeats * transpose:: transpose * Ambiguities:: Ambiguities * Notation conversion specifics:: Notation conversion specifics * Automatic Beaming:: Automatic Beaming * Chord Names:: Chord Names * lyricprint:: lyricprint * Notation Contexts:: Notation Contexts * Properties:: Changing formatting * Page layout:: Layout * contextdefs:: contextdefs * Sound output:: Sound output * midilist:: midilist * Pre-defined Identifiers:: Pre-defined Identifiers * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts. * Engravers:(lilypond-internals)LilyPond engravers. * Backend:(lilypond-internals)LilyPond backend. @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 This format represents a piece of music in an elegant way, but contains enough information for both automatic typesetting and automatic performances. LilyPond input can be classified into three types: @itemize @bullet @item musical expressions: a musical expression is some combination of rest, notes, lyrics @item output definitions: recipes for translating those musical expressions into performances (MIDI) or graphics (eg. PostScript). @item declarations: by declaring and naming musical expressions, you can enter and edit them in manageable chunks. @end itemize @node Top level @section 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 Pitch names @section Pitch names @cindex pitch names @cindex note names @cindex chord modifier names Note names and chord modifiers can be customised for nationalities. languages and conventions. The syntax is as follows. @example \pitchnames@keyindex{pitchnames} @var{scheme-alist} \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist} @end example See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for specific examples how to do this. tables can be tailored specified using. Some national note names have been provided, see section @ref{Other languages}. A @code{\paper} block at top level sets the default paper block. A @code{\midi} block at top level works similarly. Identifier assignments may appear at top level. Semicolons are forbidden after top level assignments. @cindex assignments @node Lexical conventions @section Lexical conventions @cindex lexical conventions @unnumberedsubsec Comments @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. @unnumberedsubsec Scheme @indexcode{#} LilyPond contains a Scheme interpreter (the GUILE library) for internal use. The interpreter is accessed by the pound sign: @cindex Scheme @cindex GUILE @cindex Scheme, in-line code Whereever the syntax allows Scheme expressions, you may enter one as @example #@var{scheme} @end example Evaluates the specified Scheme code. If this is used at toplevel, then the result is discarded. Example: @example \property Staff.TestObject \override #'symbol = #(+ 1 2) @end example (in this case, @code{\override} expects two Scheme expressions. [refer appendix/ online intro on Scheme] @unnumberedsubsec Keywords @cindex keyword Keywords start with a backslash, followed by a number of lower case alphabetic characters. These are all the keywords. @example apply arpeggio autochange spanrequest commandspanrequest simultaneous sequential accepts alternative bar breathe char chordmodifiers chords clef cm consists consistsend context denies duration dynamicscript elementdescriptions font grace header in lyrics key mark musicalpitch time times midi mm name pitchnames notes outputproperty override set revert partial paper penalty property pt relative remove repeat addlyrics partcombine score script stylesheet skip textscript tempo translator transpose type @end example @unnumberedsubsec Integers @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. @unnumberedsubsec 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. @unnumberedsubsec @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 @ref{Lexical modes} 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 have no grammatical function, hence they can appear anywhere in the input. @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. @unnumberedsubsec file inclusion @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, @unnumberedsubsec Version information @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-ly}, a tool that automatically upgrades input files. @cindex convert-ly @node Other languages @section Other languages @cindex Note names, international 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 sib si -d -b catalan.ly do re mi fa sol la sib si -d/-s -b @end example Pitch names can be redefined using the @code{\pitchnames} command, see @ref{Pitch names}. @node Lexical modes @section Lexical modes @cindex Lexical modes @cindex modes To simplify entering notes, lyrics, and chords, @emph{Lilypond} 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 @samp @item Normal mode. @cindex mode!normal At the start of parsing, @emph{Lilypond} 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{_}' character which appears in an unquoted word is converted to a space. 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 [todo: include short table showign differences] @node Types @section Types @cindex Identifiers [say something about types] All of the information in a LilyPond input file, is represented as a Scheme value. In addition to normal Scheme data types (such as pair, number, boolean, etc.), LilyPond has a number of specialized data types, @itemize @bullet @item Input @item c++-function @item Music: see @ref{Music expressions} @item Identifier @item Translator_def: See section @ref{contextdefs} for more information @item Duration @item Pitch @item Score @item Music_output_def (TODO: this is not really a Scheme object yet. Nevertheless, you can use identifiers to make references to them ) @item Moment (rational number) @end itemize LilyPond also includes some transient object types. Objects of these types are built during a LilyPond run, and do not `exist' per se within your input file. These objects are created as a result of your input file, so you can include commands in the input to manipulate them, during a lilypond run. @itemize @bullet @item Grob: short for Graphical object. See @ref{Grobs}. @item Molecule: device-independent page output object, including dimensions. Produced by some Grob functions See @ref{Molecules} @item Translator: object that produces audio objects or Grobs. @item Font_metric: object representing a font. (Not yet user accessible.) @c @item Audio_element: (todo, smobme) @end itemize Identifiers allow objects to be assigned to names during the parse stage. 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{Lilypond} file. Semicolons are forbidden after assignments appearing at top level but they are obligatory after assignments appearing in the @code{\paper} block, see Section @ref{Page layout}. @var{value} is any valid Scheme value or any of the input-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. For this reason, an identifier reference must always be the first item in a block. @example \paper @{ foo = 1.0 \paperIdent % wrong and invalid @} \paper @{ \paperIdent % correct foo = 1.0 @} @end example @node Music expressions @section Music expressions @cindex music expressions Music in @emph{Lilypond} 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 @ref{Atomic music expressions}. Compound music expressions are discussed in subsection @ref{Compound music expressions}. @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 @ref{Other languages} 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. @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 Dutch, @cindex 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 @ref{Other languages}. 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. @lilypond[fragment,verbatim,center] c' d' e' f' g' a' b' c'' @end lilypond @lilypond[fragment,verbatim,center] cis' dis' eis' fis' gis' ais' bis' @end lilypond @lilypond[fragment,verbatim,center] ces' des' es' fes' ges' as' bes' @end lilypond @lilypond[fragment,verbatim,center] cisis' eisis' gisis' aisis' beses' @end lilypond @lilypond[fragment,verbatim,center] ceses' eses' geses' ases' beses' @end lilypond 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. @lilypond[fragment,verbatim,center] cis' d' e' cis' c'? d' e' c'! @end lilypond @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 @lilypond[] \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 lilypond @end quotation @quotation @example r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example @end quotation @quotation @lilypond[] \score { \notes \relative c'' { r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 } \paper { loose_column_distance = 2.5 * \staffspace; linewidth = -1.0; \translator { \StaffContext \remove "Clef_engraver"; \remove "Staff_symbol_engraver"; \remove "Bar_engraver"; } } } @end lilypond @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. @lilypond[fragment,verbatim,center] a'4. b'4. @end lilypond 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. You can control the expansion by setting the property @code{Score.skipBars}. If this is set to true, Lily will not expand empty measures, and the multimeasure rests automatically adds the appropriate number. Note that there is currently no way to condense multiple rests into 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 @ref{Lexical modes} 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 @ref{lyricprint}. @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: @lilypond[fragment,verbatim] \relative c'' { c4 \context Staff \outputproperty #(make-type-checker 'Note_head) #'extra-offset = #'(5.0 . 7.5) } @end lilypond 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 implementation of the backend, which we change regularly and 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 \mark@keyindex{mark} @var{unsigned}; \mark @var{string}; @end example Prints a mark over or under the staff. You must add @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for this to work. @node barlines @section barlines @example \bar@keyindex{bar} @var{bartype}; @end example This is a short-cut for doing @example \property Score.whichBar = @var{bartype} @end example You are encouraged to use @code{\repeat} for repetitions. See @ref{Repeats}, and the documentation of @code{whichBar} in @ref{(lilypond-internals)LilyPond context properties}. @example \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;} @end example A short-cut for doing @example \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator}) @end example See the documentation of @code{timeSignatureFraction} @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 Short cut for @example \property Score.measurePosition = @var{length of duration} @end example See the documentation of @code{measurePosition}. @cindex anacrusis @cindex upstep @example @code{|}@indexcode{|} @cindex bar check @end example @cindex shorten measures @cindex upstep `@code{|}' is a bar check. Whenever a bar check 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. Depending on the value of @code{barCheckNoSynchronize} @indexcode{barCheckNoSynchronize} 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 Short-cut for @example \property Clef.clefGlyph = @var{symbol associated with clefname} \property Clef.clefPosition = @var{clef Y-position for clefname} \property Clef.clefOctavation = @var{extra pitch of clefname} @end example Supported clef-names include [todo] @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}'. @node Manual beams @section Manual beams @cindex beams A beam is specified by surrounding the beamed notes with brackets `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'. @lilypond[fragment,verbatim,center] [a'8 a'] [a'16 a' a' a'] @end lilypond Some more elaborate constructions: @lilypond[fragment,verbatim,center] [a'16 c'' ] \times 2/3 { [e'8 f' g'] } @end lilypond Beaming can be generated automatically; see section @ref{Automatic Beaming}. To place tremolo marks between notes, use @code{\repeat} with tremolo style. @cindex tremolo beams To create tremolo beams on a single note, simply attach `@code{:}@var{length}' to the note itself. @lilypond[fragment,verbatim,center] \repeat "tremolo" 8 { c16 d16 } \repeat "tremolo" 4 { c16 d16 } @end lilypond @lilypond[fragment,verbatim,center] c'4:32 @end lilypond @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. @lilypond[fragment,verbatim,center] e' ~ e' ~ @end lilypond @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. @lilypond[] \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 lilypond 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 @lilypond[] \score { \notes { \property Voice.TextScript \set #'font-style = #'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 lilypond 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: @lilypond[fragment,verbatim,center] f'()g'()a' [a'8 b'(] a'4 g'2 )f'4 @end lilypond @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. @lilypond[fragment,verbatim,center] c'' \< \! c'' d'' \decr e'' \rced < f''1 { s4 \< \! s2 \> \! s4 } > @end lilypond @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 @lilypond[fragment,verbatim,center] c'4-\spanrequest \start "slur" c'4-\spanrequest \stop "slur" @end lilypond The slur syntax with parentheses is a shorthand for this. @node stem tremolo @section stem tremolo @cindex tremolo marks 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. @lilypond[verbatim,fragment,center] c'2:8 c':32 @end lilypond @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: @lilypond[fragment,verbatim,center] \notes \context Staff { \cadenzaOn < { a b c' } { c' d' e' } > } @end lilypond @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. @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 @ref{Lexical modes} for more information on modes. @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. @lilypond[verbatim,center] \score { \notes \paper { linewidth = -1.; } } @end lilypond 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: @lilypond[verbatim,center] \score { \notes\context Voice \paper { linewidth = -1.; } } @end lilypond @node relative @section relative @cindex relative pitch specification 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. @lilypond[fragment,verbatim,center] \relative c' { c d e f g a b c c, } @end lilypond And octave changing marks are used for intervals greater than a fourth. @lilypond[fragment,verbatim,center] \relative c'' { c g c f, c' a, e'' } @end lilypond 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. @lilypond[fragment,verbatim,center] \relative c' { c } @end lilypond 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 @ref{Lexical modes}). @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 @lilypond[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 lilypond @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 @lilypond[fragment,verbatim] \transpose c'' { \chords { c1:m c:min7 c:maj c:aug c:dim c:sus } } @end lilypond @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. @lilypond[fragment,verbatim,center] \transpose c'' { \chords { c1^3 c:7^5.3 c:8^7 } } @end lilypond 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. @lilypond[fragment,verbatim,center] \transpose c''' { \chords { c1 c/e c/g c:7/e } } @end lilypond 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. @lilypond[fragment,verbatim,center] \transpose c''' { \chords { c1 c/+c c/+g c:7/+b } } @end lilypond 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: @lilypond[fragment,verbatim,center] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @end lilypond @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{flagStyle}@indexcode{flagStyle} property. @quotation @lilypond[fragment,verbatim] \relative c'' { \grace c8 c4 \grace { [c16 c16] } c4 \grace { \property Grace.flagStyle = "" c16 } c4 } @end lilypond @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. @node Repeats @section Repeats @cindex 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 @samp @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 @lilypond[fragment,verbatim] c'1 \repeat volta 2 { c'4 d' e' f' } \repeat volta 2 { f' e' d' c' } @end lilypond @end quotation With alternative endings: @quotation @lilypond[fragment,verbatim] c'1 \repeat volta 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end lilypond @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 @lilypond[fragment,verbatim] c'1 \repeat fold 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end lilypond @end quotation @quotation @lilypond[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 lilypond @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 @lilypond[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 lilypond @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. @node transpose @section transpose @cindex transposition of pitches 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 @lilypond[fragment,verbatim] \context Staff { \clef "F"; { \key e \major; c d e f } \clef "G"; \transpose des'' { \key e \major; c d e f } \transpose cis'' { \key e \major; c d e f } } @end lilypond @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 @lilypond[verbatim,fragment] \addlyrics \transpose c'' { \property Voice.automaticMelismata = ##t c8 () cis d8. e16 f2 } \context Lyrics \lyrics { do4 re mi fa } @end lilypond @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 @lilypond[verbatim,fragment] \addlyrics \transpose c'' { c8 () cis d8. e16 f2 } \context Lyrics \lyrics < { do4 re mi fa } { do8 re mi fa } > @end lilypond @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 @node Automatic Beaming @section Automatic Beaming @cindex automatic beam generation @cindex autobeam @c beamAuto vs autoBeam ? By default, LilyPond will generate beams automatically. This feature can be disabled by setting the @code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to false. It can be overridden for specific cases by specifying explicit beams. A large number of Voice properties are used to decide how to generate beams. Their default values appear in @file{scm/auto-beam.scm}. In general, beams can begin anywhere, but their ending location is significant. Beams can end on a beat, or at durations specified by the properties in @code{Voice.autoBeamSettings}@indexcode{Voice.autoBeamSettings}. To end beams every quarter note, for example, you could set the property @code{(end * * * *)} @indexcode{(end * * * *)} to `@code{(make-moment 1 4)}'. To end beams at every three eighth notes you would set it to `@code{(make-moment 1 8)}'. The same syntax can be used to specify beam starting points using @code{(begin * * * *)}@indexcode{(begin * * * *)}, eg: @quotation @example \property Voice.autoBeamSettings \override #'(end * * * *) = #(make-moment 1 4) \property Voice.autoBeamSettings \override #'(begin * * * *) = #(make-moment 1 8) @end example @end quotation To allow different settings for different time signatures, instead of the first two asterisks @code{* *} you can specify a time signature; use @code{(end N 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{(end 6 8 * *)}. To allow different endings for notes of different durations, instead of th last two asterisks you can specify a duration; use @code{(end * * N M)} to restrict the definition to beams that contain notes of `@var{N}@code{/}@var{M}' duration. For example, to specify beam endings for beams that contain 32nd notes, you would use @code{(end * * 1 32)}. @node Chord Names @section Chord Names @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 @lilypond[verbatim] scheme = \notes { \chords {a1 b c} } \score { \notes< \context ChordNamesVoice \scheme \context Staff \transpose c'' \scheme > \paper { linewidth = -1.; } } @end lilypond @end quotation You can make the chord changes stand out more by setting property @code{ChordNames.chordChanges} to true. This will only display chord names when there's a change in the chords scheme, but always display the chord name after a line break: @c bug @quotation @lilypond[verbatim] scheme = \chords { c1:m \break c:m c:m c:m d } \score { \notes < \context ChordNames \scheme \context Staff \transpose c'' \scheme > \paper{ linewidth = 40 * \staffspace; \translator { \ChordNamesContext chordChanges = ##t } } } @end lilypond @end quotation LilyPond examines chords specified as lists of notes to determine a name to give the chord. LilyPond will not try to identify chord inversions or added base, which may result in strange chord names when chords are entered as a list of pitches: @quotation @lilypond[verbatim,center] scheme = \notes { } \score { < \context ChordNamesVoice \scheme \context Staff \scheme > \paper { linewidth = -1.; } } @end lilypond @end quotation To specify chord inversions, append @code{/}. To specify an added bass note, append @code{/+ \paper { linewidth = -1.; } } @end lilypond @end quotation The chord names that LilyPond should print are fully customisable. The default code can be found in @file{scm/chord-name.scm}. Chord names are based on Banter style naming, which is unambiguous and has a logical structure. Typical American style chord names are implemented as a variation on Banter names, they can be selected by setting poperty @code{ChordName.style} to @code{american}: @quotation @lilypond[verbatim] \include "english.ly" scheme = \chords { c % Major triad cs:m % Minor triad df:m5- % Diminished triad c:5^3 % Root-fifth chord c:4^3 % Suspended fourth triad c:5+ % Augmented triad c:2^3 % "2" chord c:m5-.7- % Diminished seventh c:7+ % Major seventh c:7.4^3 % Dominant seventh suspended fourth c:5+.7 % Augmented dominant seventh c:m5-.7 % "Half" diminished seventh c:5-.7 % Dominant seventh flat fifth c:5-.7+ % Major seventh flat fifth c:m7+ % Minor-major seventh c:m7 % Minor seventh c:7 % Dominant seventh c:6 % Major sixth c:m6 % Minor sixth c:9^7 % Major triad w/added ninth c:6.9^7 % Six/Nine chord c:9 % Dominant ninth c:7+.9 % Major ninth c:m7.9 % Minor ninth } \score { \notes < \context ChordNames \scheme \context Staff \transpose c'' \scheme > \paper { \translator { \ChordNamesContext ChordName \override #'word-space = #1 ChordName \override #'style = #'american } } } @end lilypond @end quotation Similarly, Jazz style chord names are implemented as a variation on American style names: @quotation @lilypond[verbatim] scheme = \chords { % major chords c c:6 % 6 = major triad with added sixth c:maj % triangle = maj c:6.9^7 % 6/9 c:9^7 % add9 % minor chords c:m % m = minor triad c:m.6 % m6 = minor triad with added sixth c:m.7+ % m triangle = minor major seventh chord c:3-.6.9^7 % m6/9 c:m.7 % m7 c:3-.9 % m9 c:3-.9^7 % madd9 % dominant chords c:7 % 7 = dominant c:7.5+ % +7 = augmented dominant c:7.5- % 7b5 = hard diminished dominant c:9 % 7(9) c:9- % 7(b9) c:9+ % 7(#9) c:13^9.11 % 7(13) c:13-^9.11 % 7(b13) c:13^11 % 7(9,13) c:13.9-^11 % 7(b9,13) c:13.9+^11 % 7(#9,13) c:13-^11 % 7(9,b13) c:13-.9-^11 % 7(b9,b13) c:13-.9+^11 % 7(#9,b13) % half diminished chords c:m5-.7 % slashed o = m7b5 c:9.3-.5- % o/7(pure 9) % diminished chords c:m5-.7- % o = diminished seventh chord } \score { \notes < \context ChordNames \scheme \context Staff \transpose c'' \scheme > \paper { \translator { \ChordNamesContext ChordName \override #'word-space = #1 ChordName \override #'style = #'jazz } } } @end lilypond @end quotation @node lyricprint @section lyricprint @cindex lyrics @cindex printing!lyrics Lyric syllables must be interpreted within a @code{Lyrics} context @cindex context!Lyrics for printing them. Here is a full example: @quotation @lilypond[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 lilypond @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 @lilypond[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 lilypond @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 @lilypond[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 lilypond @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 @lilypond[verbatim] \score { \notes \relative c'' { c4 f } } @end lilypond @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: @lilypond[] \score { \notes \relative c'' { } } @end lilypond 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}. 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 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}. @mbinclude properties.itely @node Page layout @section Page layout @subsection Paper block 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. @item A context definition. See section @ref{contextdefs} for more information on context definitions. @ignore FIXME @item 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. @end ignore @item \stylesheet declaration. Its syntax is @example \stylesheet @var{alist} @end example See @file{font.scm} for details of @var{alist}. @end itemize @subsection Paper variables The paper block has some variables you may want to use or change: @table @samp @item @code{indent}@indexcode{indent} The indentation of the first line of music. @item @code{staffspace}@indexcode{staffspace} 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. If you use this variable, you probably want to define it in staff spaces, ie @example linewidth = 30 * \staffspace; @end example @item @code{textheight}@indexcode{textheight} Sets the total height of the music on each page. Only used by ly2dvi. @item @code{interscoreline}@indexcode{interscoreline} Sets the spacing between the score lines. Defaults to 16 pt. @item @code{interscorelinefill}@indexcode{interscorelinefill} If set to a positive number, the distance between the score lines will stretch in order to fill the full page. In that case @code{interscoreline} specifies the minimum spacing. Defaults to 0. @item @code{stafflinethickness}@indexcode{stafflinethickness} Determines the thickness of staff lines, and also acts as a scaling parameter for other line thicknesses. @end table @subsection Line breaks @cindex line breaks @cindex breaking lines Line breaks are normally computed automatically. They are chosen such that the resulting spacing has low variation, and looks neither cramped nor loose. Occasionally you might want to override the automatic breaks; you can do this by specifying @code{\break} (see also @ref{Pre-defined Identifiers}). This will force a line break at this point. Do remember that line breaks can only occur at places where there are barlines. If you want to have a line break where there is no barline, you can force a barline by entering @code{\bar "";}. @subsection Page breaks Page breaks are normally computed by @TeX{}, so they are not under direct control. However, you can insert a commands into the .tex output to instruct @TeX{} where to break pages. For more details, see the example file @file{input/test/between-systems.ly} @cindex page breaks @cindex breaking pages @subsection Font size @cindex font size @cindex 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{paperEleven}, @code{paperThirteen}, @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix} are defined respectively. The default @code{\paper} block is also set. The font definitions are generated using a Scheme function. For more details, see the file @file{font.scm}. @subsection paper size @cindex paper size @cindex page size 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. @example papersize = "a4" \include "paper16.ly" \score @{ ... \paper @{ \paperSixteen @} @} @end example The file "paper16.ly" will now include a file named @file{a4.ly}, which will set the paper variables @code{hsize} and @code{vsize} (used by @code{ly2dvi}) @node contextdefs @section contextdefs @cindex context definition @cindex translator definition @cindex engraver hacking 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 @samp @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. 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 is the context to create by default. @item @code{\denies}. The opposite of @code{\accepts}. Added for completeness, but is never used in practice. @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 @samp @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 Sound output @section Sound output The MIDI block is analogous to the paper block, but it is somewhat 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 @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} and @file{ly/property.ly}. @table @samp @item @code{\break}@keyindex{break} Force a line break in music by using a large argument for the keyword @code{\penalty}. @item @code{\nobreak}@keyindex{nobreak} Prevent a line break in music by using a large negative argument for the keyword @code{\penalty}. @item @code{\shiftOff}@keyindex{shiftOff} Disable horizontal shifting of note heads that collide. @item @code{\shiftOn}@keyindex{shiftOn} Enable note heads that collide with other note heads to be shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn} set different shift values. @item @code{\stemBoth}@keyindex{stemBoth} Allow stems, beams, and slurs to point either upwards or downwards, decided automatically by LilyPond. @item @code{\stemDown}@keyindex{stemDown} Force stems, beams, and slurs to point down. @item @code{\stemUp}@keyindex{stemUp} Force stems, beams and slurs to point up. @end table