+
@c Note:
@c
@c A menu is needed before every deeper *section nesting of @nodes
@c before saving changes
-@ignore
- TODO:
-
- fix all FIXMEs
+@macro refbugs
+@unnumberedsubsec Bugs
- Rhythm staff (clef, x-notehead)
- Piano pedals
- \addlyrics, \autochange, \partcombine: music (re)grouping
- markup text
- postscript, scheme output?
- (links to?) using/existance of ly2dvi, lilypond-book
-@end ignore
+@end macro
-@c.{Reference Manual}
+@c .{Reference Manual}
@node Reference Manual
@chapter Reference Manual
+
+This document describes GNU LilyPond and its input format. The last
+revision of this document was for LilyPond 1.3.141.
+
+
@menu
* Overview::
-* Music constructs::
-* Modifying music::
* Note entry::
-* Note specification::
-* Music notation::
-* Lyrics entry::
-* Chord entry::
+* Staff notation::
+* Polyphony::
+* Beaming::
+* Expressive marks::
+* Ornaments::
+* Repeats::
+* Rhythmic music::
+* Piano music::
+* Lyrics::
+* Chords::
+* Writing parts::
+* Custodes::
+* Tuning output::
* Page layout::
* Sound::
* Music entry::
-* Engravers::
-* Lexer innards::
-* Unsorted::
+* Skipping corrected music::
+* Interpretation context::
+* Syntactic details::
+* Lexical details::
@end menu
-@c. {Overview}
+@c . {Overview}
@node Overview
@section Overview
-This document
-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.
-
-This document has been revised for LilyPond 1.3.125
-
-[todo: ]
-
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
The purpose of LilyPond is explained informally by the term `music
typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
+program print musical symbols, it also makes esthetic decisions.
+Symbols and their placements are @emph{generated} from a high-level
+musical description. In other words, LilyPond would be best described
+by `music compiler' or `music to notation compiler'.
-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).
+LilyPond is linked to GUILE, GNU's Scheme library for extension. The
+Scheme library provides the glue that holds together the low-level
+routines and separate modules general, which are C++.
- @item declarations: by declaring and naming musical expressions, you
-can enter and edit them in manageable chunks.
+When lilypond is run to typeset sheet music, the following happens:
+@itemize @bullet
+@item GUILE Initialization: various scheme files are read
+@item parsing: first standard @code{ly} initialization files are read, and
+then the user @file{ly} file is read.
+@item interpretation: the music in the file is processed ``in playing
+order'', i.e. the order that you use to read sheet music, or the
+order in which notes are played.
+
+@item typesetting:
+in this step, the results of the interpretation, a typesetting
+specification, is solved.
+
+@item the visible results ("virtual ink") is written to the output file.
@end itemize
+During these stages different types of data play the the main role:
+during parsing, @strong{Music} objects are created. During the
+interpretation, @strong{context} is constructed, and with this context
+af network of @strong{graphical objects} (``grobs'') is created. The
+grobs contain unknown variables, and the network forms a set of
+equations. After solving the equations and filling in these variables,
+the printed output (in the form of @strong{molecules}) is written to an
+output file.
-@c. {Music constructs}
-@node Music constructs
-@section Music constructs
-@cindex Music constructs
-@menu
-* Music expressions::
-* Sequential music::
-* Simultanious music::
-* Compound music expressions::
-* Grace music::
-* Explicit atomic music::
-@end menu
+These threemanship of tasks (parsing, translating, typesetting) and
+data-structures (music, context, graphical objects) permeates the entire
+design of the program. This manual is ordered in terms of user
+tasks. With each concept will be explained to which of the three parts
+it belongs.
-@c. {Music expressions}
-@node Music expressions
-@subsection Music expressions
-@cindex music expressions
+@c . {Note entry}
+@node Note entry
+@section Note entry
+@cindex Note entry
-Music in 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:
+The most basic forms of music are notes. We discuss how you enter them
+here. Notes on their own don't form valid input, but for the sake of
+brevity we omit obligotary lint such as @code{\score} blocks and
+@code{\paper} declarations.
-@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).
+@menu
+* Pitches::
+* Defining pitch names::
+* Durations::
+* Notes::
+* Easy Notation note heads ::
+* Tie::
+* Tuplets::
+* Rests::
+* Skip::
+* Note mode::
+@end menu
-Atomic music expression are discussed in
-subsection @ref{Atomic music expressions}. Compound music expressions are
-discussed in subsection @ref{Compound music expressions}.
+@c . {Pitches}
+@node Pitches
+@subsection Pitches
+@cindex Pitch names
+@cindex Note specification
+@cindex pitches
+@cindex entering notes
-@c. {Sequential music}
-@node Sequential music
-@subsection Sequential music
-@cindex Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
+The verbose syntax for pitch specification is
+@cindex @code{\pitch}
@example
- \sequential @code{@{} @var{musicexprlist} @code{@}}
+ \pitch @var{scmpitch}
@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:
+@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
-@example
-@cindex @code{<}
-@cindex @code{>}
+In Note and Chord mode, pitches may be designated by names. The default
+names are the Dutch note names. The notes are specified by the letters
+@code{a} through @code{g} (where the octave is formed by notes ranging
+from @code{c}, to @code{b}). The pitch @code{c} is an octave below
+middle C and the letters span the octave above that C.
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
+@cindex note names, Dutch
-@c. {Simultanious music}
-@node Simultanious music
-@subsection Simultanious music
-@cindex Simultanious music
-@cindex @code{\simultaneous}
+In 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 are accepted.
-@example
- \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
+LilyPond has predefined sets of notenames for various other languages.
+To use them, simply include the language specific init file. For
+example: @code{\include "english.ly"}. The available language files and
+the names they define are:
-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
+ 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
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
+@cindex @code{'}
+@cindex @code{,}
-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 <c''4 e''>
- \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:
+The optional octave specification takes the form of a series of
+single quote (`@code{'}') characters or a series of comma
+(`@code{,}') characters. Each @code{'} raises the pitch by one
+octave; each @code{,} lowers the pitch by an octave.
-@lilypond[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
+@lilypond[fragment,verbatim,center]
+ c' c'' es' g' as' gisis' ais'
@end lilypond
-@c. {Compound music expressions}
-@node Compound music expressions
-@subsection Compound music expressions
+@c . {Defining pitch names}
+@node Defining pitch names
+@subsection Defining pitch names
-@cindex Compound music expressions
+@cindex defining pitch names
+@cindex pitch names, defining
-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:
+Note names and chord modifiers can be customised for nationalities. The
+syntax is as follows.
-@lilypond[fragment,verbatim,center]
- \notes \context Staff {
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
+@cindex @code{\pitchnames}
+@cindex @code{\chordmodifiers}
+@example
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
+@end example
-@end lilypond
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples how to do this.
-@cindex @code{\context}
-@cindex context selection
-@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.
+@c . {Durations}
+@node Durations
+@subsection Durations
-@c. {Grace music} <-> Grace notes
-@node Grace music
-@subsection Grace music
-@cindex Grace music
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@cindex @code{graceAlignPosition}
+@cindex duration
+@cindex @code{\duration}
+The syntax for a verbose duration specification is
@example
- \grace @var{musicexpr}
+ \duration @var{scmduration}
@end example
+Here, @var{scmduration} is a Scheme object of type Duration. See
+@ref{Duration} for more information.
-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}.
-@cindex @code{flagStyle}
-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} property.
+In Note, Chord, and Lyrics mode, durations may be designated by numbers
+and dots: durations are entered as their reciprocal values. For notes
+longer than a whole note, use identifiers.
@quotation
-@lilypond[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.flagStyle = "" c16 } c4
-}
-@end lilypond
-@end quotation
-@cindex @code{\grace}
+@example
+c'\longa c'\breve
+c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
-@example
- @code{\grace @{ \grace c32 c16 @} c4}
-@end example
-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.
+@lilypond[]
+\score {
+ \notes \relative c'' {
+ a\longa a\breve \autoBeamOff
+ a1 a2 a4 a8 a16 a32 a64 a64
+ r\longa r\breve
+ r1 r2 r4 r8 r16 r32 r64 r64
+ }
+ \paper {
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver";
+ \remove "Staff_symbol_engraver";
+ \remove "Time_signature_engraver";
+ \consists "Pitch_squash_engraver";
+ }
+ }
+}
+@end lilypond
+@end quotation
-The present implementation is not robust and generally kludgy. We expect
-it to change after LilyPond 1.4
+As you can see, the longa is not printed. To get a longa note head, you
+have to use a mensural note heads. This is done accomplished by setting
+the @code{style} property of the NoteHead grob to @code{mensural}.
+If the duration is omitted then it is set to the previous duration
+entered. At the start of parsing a quarter note is assumed. The
+duration can be followed by a dot (`@code{.}') to obtain dotted note
+lengths.
+@cindex @code{.}
-@c. {Explicit atomic music}
-@node Explicit atomic music
-@subsection Explicit atomic music
-@cindex Explicit atomic music
+@lilypond[fragment,verbatim,center]
+ a'4. b'4.. c'8.
+@end lilypond
+@cindex @code{r}
+@cindex @code{s}
+You can alter the length of duration by appending
+`@code{*}@var{fraction}'. This will not affect the appearance of the
+notes or rests produced.
-@cindex pitch
+@c . {Notes}
+@node Notes
+@subsection Notes
-The syntax for pitch specification is
+A note specification has the form
-@cindex @code{\pitch}
@example
- \pitch @var{scmpitch}
+ @var{pitch}[@var{octavespec}][!][?][@var{duration}]
@end example
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
+LilyPond will determine what accidentals to typeset depending on the key
+and context. The alteration refers to what note is heard, not to whether
+an accidental is printed. A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+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{?}' after the pitch.
-In Note and Chord mode, pitches may be designated by names. See
-section @ref{Other languages} for pitch names in different languages.
+@lilypond[fragment,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
+@end lilypond
-@cindex duration
-@cindex @code{\duration}
-The syntax for duration specification is
-@example
- \duration @var{scmduration}
-@end example
+@node Easy Notation note heads
+@subsection Easy Notation note heads
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots.
+@cindex easy notation
+@cindex Hal Leonard
+A entirely different type of note head is the "easyplay" note head: a
+note head that includes a note name. It is used in some publications by
+Hal-Leonard Inc. music publishers.
+@lilypond[singleline,verbatim]
+\include "paper26.ly"
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
+Note that @code{EasyNotation} overrides a @code{Score} context. You
+probably will want to print it with magnification to make it better
+readable.
-@c. {Modifying music}
-@node Modifying music
-@section Modifying music
-@cindex Modifying music
-@menu
-* Relative::
-* Transpose::
-* Repeat::
-* Times ::
-* Apply::
-* Transform::
-@end menu
+@cindex Xdvi
+@cindex ghostscript
-@c. {Relative}
-@node Relative
-@subsection Relative
-@cindex Relative
-@cindex relative octave specification
+If you view the result with Xdvi, then staff lines will show through the
+letters. Printing the postscript file obtained either by using dvips or
+the @code{-f ps} option of lilypond will produce the desired result.
-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.
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
+@node Tie
+@subsection Tie
-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}.
+@cindex Tie
+@cindex ties
+@cindex @code{~}
-Entering scales is straightforward in relative mode.
+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{~}'.
+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]
- \relative c' {
- c d e f g a b c c,
- }
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-And octave changing marks are used for intervals greater than a fourth.
-
+If you dislike the amount of ties created for a chord, you set
+@code{Voice.sparseTies} to true, resulting in a smaller number of
+ties:
@lilypond[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
+ \property Voice.sparseTies = ##t
+ <c' e' g'> ~ <c' e' g'>
@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.
+In its meaning a tie is just a way of extending a note duration, similar
+to the augmentation dot: the following example are three ways of notating
+exactly the same concept.
+@lilypond[fragment, singleline]
+c'2 c'4 ~ c'4
+@end lilypond
-@lilypond[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end lilypond
-@cindex @code{\notes}
+@refbugs
-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} keyword (which is not
-shown here).
+At present, the tie is implemented as a separate thing, temporally
+located in between the notes. There is also no way to convert
+between tied notes, dotted notes and plain notes.
-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}.
+Tieing only a subset of the note heads of a chord is not supported in a
+simple way. It can be achieved by moving the tie-engraver into Thread
+context and turning off ties per Thread.
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
-@c. {Transpose}
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
+@node Tuplets
+@subsection Tuplets
-A music expression can be transposed with @code{\transpose}. The syntax
-is
+@cindex tuplets
+@cindex triplets
+@cindex @code{\times}
+
+Tuplets are made out of a music expression by multiplying their duration
+with a fraction.
+
+@cindex @code{\times}
@example
- \transpose @var{pitch} @var{musicexpr}
+ \times @var{fraction} @var{musicexpr}
@end example
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
+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:
-@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.
+@lilypond[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end lilypond
-@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 }
-}
+The property @code{tupletSpannerDuration} specifies how long brackets
+should last. With this, you can make lots of tuplets while typing
+@code{\times} only once. This saves typing work when you must make lots
+of tuplets.
+@lilypond[fragment, relative, singleline, verbatim]
+\property Voice.tupletSpannerDuration = #(make-moment 1 4)
+\times 2/3 { c''8 c c c c c }
@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}.
+@c . {Rests}
+@node Rests
+@subsection Rests
+@cindex Rests
-@c. {Repeat}
-@node Repeat
-@subsection Repeat
-@cindex Repeat
-@cindex repeats
+Rests are entered like notes, with note name `@code{r}'.
-@ref{Volta}
-[TODO: document #'repeatCommands.]
-@cindex @code{\repeat}
+@c . {Skip}
+@node Skip
+@subsection Skip
+@cindex Skip
-In order to specify repeats, use the @code{\repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
-@table @asis
-@item unfolded
-Repeated music is fully written (played) out. Useful for MIDI
-output.
+@example
+ \skip @var{duration} @code{;}
+ s@var{duration}
+@end example
+@cindex @code{\skip}
-@item volta
-This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
+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. The shorthand is only available in Note and Chord mode.
-@item folded
-Alternative endings are written stacked. Which is unfortunately not
-practical for anything right now.
-@item tremolo
-Make tremolo beams.
-@end table
-The syntax for repeats is
+@node Note mode
+@subsection Note mode
-@example
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
-If you have alternative endings, you may add
-@cindex @code{\alternative}
+@cindex note mode
+@cindex @code{\notes}
+
+Note mode is the lexical mode generally used for inputting notes. The
+syntax is
@example
- \alternative @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
+\notes @var{expr}
@end example
-where each @var{alternative} is a Music expression.
-
-Normal notation repeats are used like this:
+This instructs the tokenizer to interpret @var{expr} in note mode. If a
+a sequence of alfabetical characters, like @code{foobar}, LilyPond first
+checks if @code{foobar} is a pitch name. If it is not a pitch name,
+then it is treated as a string.
-@quotation
+Numbers and dots indicate durations, so you can enter floating point
+numbers in this mode.
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
-@end lilypond
-@end quotation
+@node Staff notation
+@section Staff notation
-With alternative endings:
+@cindex Staff notation
-@quotation
+@menu
+* Key signature::
+* Clef::
+* Time signature::
+* Unmetered music::
+* Bar lines::
+@end menu
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@c . {Key}
+@node Key signature
+@subsection Key signature
+@cindex Key
-@end lilypond
-@end quotation
+@cindex @code{\key}
-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.}
+Changing the key signature is done with the @code{\key} command.
+@example
+ @code{\key} @var{pitch} @var{type} @code{;}
+@end example
-@quotation
+@cindex @code{\minor}
+@cindex @code{\major}
+@cindex @code{\minor}
+@cindex @code{\ionian}
+@cindex @code{\locrian}
+@cindex @code{\aeolian}
+@cindex @code{\mixolydian}
+@cindex @code{\lydian}
+@cindex @code{\phrygian}
+@cindex @code{\dorian}
-@lilypond[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+Here, @var{type} should be @code{\major} or @code{\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} commands to get the corresponding major key, e.g.,
+@code{\minor} is defined as 3. The standard mode names @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian} are also defined.
-@end lilypond
-@end quotation
+This command sets context property @code{Staff.keySignature}.
-@quotation
+@cindex @code{keySignature}
-@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 } }
- }
-}
+@c . {Clef}
+@node Clef
+@subsection Clef
+@cindex @code{\clef}
+@example
+ \clef @var{clefname} @code{;}
+@end example
-@end lilypond
-@end quotation
+Shortcut for
-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.
+@example
+ \property Staff.clefGlyph = @var{glyph associated with clefname}
+ \property Staff.clefPosition = @var{clef Y-position for clefname}
+ \property Staff.clefOctavation = @var{extra pitch of clefname}
+@end example
-@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
+Supported clef-names include
-As you can see, LilyPond doesn't remember the timing information, nor
-are slurs or ties repeated. We hope to fix this after 1.4.
+@itemize @bullet
+@item treble, violin, G, G2: G clef on 2nd line
+@item french: G clef on 1st line
+@item soprano: C clef on 1st line
+@item mezzosoprano: C clef on 2nd line
+@item alto: C clef on 3rd line
+@item tenor: C clef on 4th line
+@item baritone: C clef on 5th line
+@item varbaritone: F clef on 3rd line
+@item bass, F: F clef on 4th line
+@item subbass: F clef on 5th line
+@item percussion: percussion clef
+@end itemize
-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.
+Supported associated glyphs (for @code{Staff.clefGlyph}) are:
-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.
+@itemize @bullet
+@item clefs-C: modern style C clef
+@item clefs-F: modern style F clef
+@item clefs-G: modern style G clef
+@item clefs-vaticana_do: Editio Vaticana style do clef
+@item clefs-vaticana_fa: Editio Vaticana style fa clef
+@item clefs-medicaea_do: Editio Medicaea style do clef
+@item clefs-medicaea_fa: Editio Medicaea style fa clef
+@item clefs-mensural1_c: modern style mensural C clef
+@item clefs-mensural2_c: historic style small mensural C clef
+@item clefs-mensural3_c: historic style big mensural C clef
+@item clefs-mensural1_f: historic style traditional mensural F clef
+@item clefs-mensural2_f: historic style new mensural F clef
+@item clefs-mensural_g: historic style mensural G clef
+@item clefs-hufnagel_do: historic style hufnagel do clef
+@item clefs-hufnagel_fa: historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
+@item clefs-percussion: modern style percussion clef
+@end itemize
-@lilypond[verbatim,center]
-\score {
- \context Voice \notes\relative c' {
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
- \repeat "tremolo" 2 { c16 d16 }
- }
- \paper {
- linewidth = 40*\staffspace;
- }
-}
-@end lilypond
-@cindex @code{__}
+@emph{Modern style} means ``as is typeset in current editions.''
+@emph{Historic style} means ``as was typeset or written in contemporary
+historic editions''. @emph{Editio XXX style} means ``as is/was printed in
+Editio XXX.''
-@lilypond[fragment,verbatim,center]
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
- c'4:32
-@end lilypond
-@c. {Times}
-@node Times
-@subsection Times
-@cindex Times
-@ref{Tuplets}
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
+@c . {Time signature}
+@node Time signature
+@subsection Time signature
+@cindex Time signature
+@cindex meter
+@cindex @code{\time}
-@cindex @code{\times}
+The time signature is changed by the @code{\time} command. Syntax:
@example
- \times @var{fraction} @var{musicexpr}
+ \time @var{numerator}@code{/}@var{denominator} @code{;}
@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
-
-
-@c. {Apply}
-@node Apply
-@subsection Apply
-@cindex Apply
-Apply allows a Scheme-function to operate directly on the internal
-representation of music.
+Internally, this is a shortcut for doing
@example
- \apply #@var{func} @var{music}
+ \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
@end example
-The function takes two arguments, being a function and an musical
-argument for that function. The function should return a music
-expression.
-This example replaces the text string of a script. It also shows a dump
-of the music it processes.
-@lilypond[verbatim]
-#(define (testfunc x)
- (if (eq? (ly-get-mus-property x 'text) "foo")
- (ly-set-mus-property x 'text "bar"))
- ;; recurse
- (ly-set-mus-property x 'elements
- (map testfunc (ly-get-mus-property x 'elements)))
- (display x)
- x
-)
-\score { \notes
- \apply #testfunc { c4_"foo" }
-}
-@end lilypond
+[TODO: discuss options for layout]
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
+@c . {Partial}
+@subsection Partial
+@cindex Partial
+@cindex anacrusis
+@cindex upstep
+@cindex partial measure
+@cindex measure, partial
+@cindex shorten measures
+@cindex @code{\partial}
-@c. {Transform}
-@node Transform
-@subsection Transform
-@cindex Transform
+Partial measures are entered using the @code{\partial} command:
+@example
+ \partial @var{duration} @code{;}
+@end example
+Internally, this is a shortcut for
-@c. {Note entry}
-@node Note entry
-@section Note entry
-@cindex Note entry
+@example
+ \property Score.measurePosition = -@var{length of duration}
+@end example
+@cindex @code{|}
-@menu
-* Notes mode::
-* Pitch names::
-@end menu
-@c. {Notes mode}
-@node Notes mode
-@subsection Notes mode
+@node Unmetered music
+@subsection Unmetered music
-@cindex note mode
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable. The property
+@code{Score.timing} can be used to switch off this automatic timing
-@cindex @code{\notes}
-Note mode is introduced by the keyword
-@code{\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.
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\property Score.timing = ##f
+c4 c4 c4
+\property Score.timing = ##t
+c4 c4 c4
+@end lilypond
-Since combinations of numbers and dots are used for indicating
-durations, it is not possible to enter real numbers in this mode.
+The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
+achieve the same effect.
-@cindex Notes mode
-@c. {Pitch names}
-@node Pitch names
-@subsection Pitch names
-@cindex Pitch names
-@node Note specification
-@section Note specification
-@cindex Note specification
+@c . {Bar lines}
+@node Bar lines
+@subsection Bar lines
+@cindex Bar lines
-@cindex pitches
-@cindex entering notes
+@cindex @code{\bar}
+@cindex measure lines
+@cindex repeat bars
-A note specification has the form
+@example
+ \bar @var{bartype};
+@end example
+This is a shortcut for doing
@example
- @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+ \property Score.whichBar = @var{bartype}
@end example
-The pitch of the note is specified by the note's name.
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}, and the documentation of @code{whichBar} in the generated
+documentation.
-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 note names, 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.
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
-LilyPond has predefined sets of notenames for various other languages.
-To use them, simply include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files and
-the names they define are:
+Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
+@code{whichBar} at every moment. Whenever it is set to a string, it will
+create a bar with that type. @code{whichBar} is usually set
+automatically: at the start of a measure it is set to
+@code{defaultBarType}. The contents of @code{repeatCommands} is used to
+override default measure bars.
-@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
-@cindex @code{'}
-@cindex @code{,}
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar ; }. These settings take precedence over automatic @code{whichBar}
+settings.
-Pitch names can be redefined using the @code{\pitchnames} command, see
-@ref{Pitch names}.
+@c . {Polyphony}
+@node Polyphony
+@section Polyphony
+@cindex polyphony
+Polyphonic parts, i.e. parts with more than one voice on a staff can be
+typeset with LilyPond. To use this, instantiate a separate Voice
+context for each part, and assign a stem direction to each part.
+@lilypond[fragment,verbatim]
+\context Staff
+< \context Voice = VA { \stemUp b'4 a' g' f' e' }
+ \context Voice = VB { \stemDown g'4 g' g' g' g' } >
+@end lilypond
+When there are more than two voices on a staff, you must also indicate
+which voice should moved horizontally in case of a collision. This can
+be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
+@code{\shiftOnn}, etc. (which sets grob property @code{horizontal-shift}
+in @code{NoteColumn}).
+
+@lilypond[fragment, verbatim]
+ \context Staff \notes\relative c''<
+ \context Voice=one {
+ \shiftOff \stemUp e4
+ }
+ \context Voice=two {
+ \shiftOn \stemUp cis
+ }
+ \context Voice=three {
+ \shiftOnn \stemUp ais
+ }
+ \context Voice=four {
+ \shiftOnnn \stemUp fis-2
+ }
+ >
+@end lilypond
-The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+The most convenient way is to use the identifiers @code{\voiceOne}
+through @code{\voiceFour}, which also set slur and tie directions in the
+correct manner.
-@lilypond[fragment,verbatim,center]
- c' d' e' f' g' a' b' c''
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
@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 also vertically shifts rests that are opposite of a stem.
-@lilypond[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
+@lilypond[singleline,verbatim]
+\context Staff <
+\context Voice { \stemUp c''4 }
+\context Voice =VB { r4 }
+>
@end lilypond
-@lilypond[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
-@end lilypond
+Note head collisions (horizontal shifting of note heads) are handled by
+the @code{NoteCollision} grob. @code{RestCollision} handles vertical
+shifting of rests.
-LilyPond will determine what accidentals to typeset depending on the key
-and context, so alteration refer to what note is heard, not to whether
-accidentals are printed. A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch.
-A cautionary accidental,
-@cindex cautionary accidental
+@cindex @code{NoteCollision}
+@cindex @code{RestCollision}
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
-@lilypond[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
-@end lilypond
+@refbugs
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
+the Rest grob to override typesetting decisions.
-@c. {Rests}
-@menu
-* Rests::
-* Durations::
-* Multi measure rests::
-* Skip::
-@end menu
+[TODO: doc merge-differently-dotted]
-@node Rests
-@subsection Rests
-@cindex Rests
+@node Beaming
+@section Beaming
-Rests are entered like notes, with note name `@code{r}'.
-There is also a note name
-`@code{s}', which produces a space of the specified
-duration.
+Beams are used to group short notes into chunks that are aligned with
+the metrum. LilyPond guesses where beams should be inserted, but if
+you're not satisfied with the automatic beaming, you can either instruct
+lilypond which patterns to beam automatically. In specific cases, you
+can also specify explicitly what to beam and what not.
-@c. {Durations}
-@node Durations
-@subsection Durations
-@cindex Durations
+@c . {Automatic beams}
+@subsection Automatic beams
-Durations are entered as their reciprocal values. For notes longer
-than a whole note, use identifiers.
+@cindex @code{Voice.autoBeamSettings}
+@cindex @code{(end * * * *)}
+@cindex @code{(begin * * * *)}
-@quotation
+A large number of Voice properties are used to decide how to generate
+beams. Their default values appear in @file{scm/auto-beam.scm}.
-@example
-c'\longa c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
+By default, automatic beams can start on any note@footnote{In exotic
+time signatures such as 1/8 and 1/16 this is not true} but can only end
+in a few positions within the measure: they can end on a beat, or at
+durations specified by the properties in
+@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+are defined in @file{scm/auto-beam.scm}.
+The syntax for changing the value @code{autoBeamSettings} is set using
+@code{\override} and unset using @code{\revert}:
+@example
+\property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
+\property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
+@end example
+Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+whether the rule applies to begin or end-points. The quantity
+@var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
+designate all time signatures), @var{P}/@var{Q} refers to the length of
+the beamed notes (@code{* *} designate notes of any length).
+
+If you want automatic beams to end on every quarter note, you can
+use the following:
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+@end example
+The duration a quarter note is 1/4 of a whole note. It is entered as
+@code{(make-moment 1 4)}.
-@lilypond[]
-\score {
- \notes \relative c'' {
- a\longa a\breve \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- r\longa r\breve
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \paper {
- \translator {
- \StaffContext
- \remove "Clef_engraver";
- \remove "Staff_symbol_engraver";
- \remove "Time_signature_engraver";
- \consists "Pitch_squash_engraver";
- }
- }
-}
-@end lilypond
-@end quotation
+The same syntax can be used to specify beam starting points. In this
+example, you automatic beams can only end on a dotted quarter note.
+@example
+\property Voice.autoBeamSettings \override
+ #'(begin * * * *) = #(make-moment 3 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8 has passed within the measure).
+
+You can also restrict rules to specific time signatures. A rule that
+should only be applied in @var{N}/@var{M} time signature is formed by
+replacing the first asterisks by @var{N} and @var{M}. For example, a
+rule for 6/8 time exclusively looks like
+@example
+\property Voice.autoBeamSettings \override
+ #'(begin 6 8 * *) = ...
+@end example
-As you can see, the longa is not printed. To get a longa note head, you
-have to use a different style of note heads. See [TODO].
+If you want a rule to apply to certain types of beams, you can use the
+second pair of asterisks. Beams are classified according to the shortest
+note they contain. For a beam ending rule that only applies to beams
+with 32nd notes (and no shorter notes), you would use @code{(end * * 1
+32)}.
-@cindex @code{.}
+@c not true
+@c Automatic beams can not be put on the last note in a score.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
-If the duration is omitted then it is set equal to the previous duration
-entered. At the start of parsing there is no previous duration, so then
-a quarter note is assumed. The duration can be followed by a dot
-(`@code{.}') to obtain dotted note lengths.
+@cindex automatic beam generation
+@cindex autobeam
+@cindex @code{Voice.noAutoBeaming}
+Automatic beaming is on by default, but it can switched off by setting
+@code{Voice.noAutoBeaming} to true. You you may find this necessary for
+a melody that goes with lyrics.
+@refbugs
-@lilypond[fragment,verbatim,center]
- a'4. b'4.
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, ie, you'll have to specify manual beams to get:
+@lilypond[fragment,singleline,relative]
+ \property Voice.autoBeamSettings
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
@end lilypond
-@cindex @code{r}
-@cindex @code{s}
-
-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.
-@c. {Multi measure rests}
-@node Multi measure rests
-@subsection Multi measure rests
-@cindex Multi measure rests
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure, eg, in irregular meters such as @code{5/8}
+that breaks down to @code{2/8 +3/8} or @code{3/8 + 2/8}, automatic beams
+won't act according to the broken down parts @code{2/8} and @code{3/8}.
-@cindex @code{R}
+@c . {Manual beams}
+@cindex Automatic beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
-Multi_measure_rest are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by 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.
+In some cases it may be necessary to override LilyPond's automatic
+beaming algorithm. For example, the auto beamer will not beam over
+rests or bar lines, so if you want that, specify the begin and end point
+manually using @code{[} and @code{]}:
-@lilypond[fragment]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ r4 [r8 g'' a r8] r8 [g | a] r8
+ }
@end lilypond
+Whenever an manual beam is busy, the auto beam will not produce
+anything.
-Note that there is currently no way to condense multiple rests into a
-single multimeasure rest.
+@cindex @code{stemLeftBeamCount}
-@c. {Skip}
-@node Skip
-@subsection Skip
-@cindex Skip
+If you have specific wishes for the number of beams, you can fully
+control the number of beams through the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ [f'8 r16 f g a]
+ [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+ }
+@end lilypond
+@cindex @code{stemRightBeamCount}
-@example
- \skip @var{duration} @code{;}
-@end example
-@cindex @code{\skip}
+The beam symbol can be tweaked through @code{Voice.Beam}'s
+grob-properties @code{height} and @code{staff-position},
+in staff-spaces.
-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 spacer rest.
+Set @code{height} to zero, to get horizontal beams:
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'direction = #1
+ \property Voice.Beam \set #'height = #0
+ [a''8 e' d c]
+@end lilypond
+Here's how you'd specify a weird looking beam that instead of being
+horizontal, falls two staff spaces:
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'staff-position = #2
+ \property Voice.Beam \set #'height = #-2
+ [c'8 c]
+@end lilypond
+@cindex @code{default-neutral-direction}
+@node Expressive marks
+@section Expressive marks
-@c. {Music notation}
-@node Music notation
-@section Music notation
-@cindex Music notation
+@c . {Slur}
@menu
-* Key::
-* Clef::
-* Time signature::
-* Spanners::
-* Ornaments::
-* Bar check::
+* Slur ::
+* Phrasing slur::
+* Breath marks::
+* Tempo::
+* Text spanner::
@end menu
-@c. {Key}
-@node Key
-@subsection Key
-@cindex Key
-
-@cindex @code{\key}
-
-@example
- @code{\key} @var{pitch} @var{type} @code{;}
-@end example
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
-
-Change the key signature. @var{type} should be @code{\major} or
-@code{\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} commands to get the corresponding
-major key, e.g., @code{\minor} is defined as 3. The standard mode names
-@code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
-@code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
-
-
-@c. {Clef}
-@node Clef
-@subsection Clef
-@cindex Clef
+@node Slur
+@subsection Slur
+@cindex slur
+A slur indicates that notes are to be played bound or @emph{legato}. In
+lilypond, they are entered using parentheses:
+@lilypond[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end lilypond
-@c. {Clef changes}
-@subsubsection Clef changes
-@cindex @code{\clef}
-@example
- \clef @var{clefname} @code{;}
-@end example
-Short-cut for
+Slurs avoid crossing stems, and are attached to note heads whenever
+possible. In some instances involving beams slurs may be attached to a
+stem end. If you want to override this layout you can do this through
+@code{Voice.Slur}'s grob-property @code{attachment}:
-@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
+Maybe reinclude other slur features and move back to tricks? Esp. the
+second example, how to fix, can be very helpful.
-Supported clef-names include
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Slur \set #'direction = #1
+ \property Voice.Stem \set #'length = #5.5
+ g''8(g)g4
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ g8(g)g4
+@end lilypond
-[todo]
+If a slur would strike through a stem or beam, the slur will be moved
+away upward or downward. If this happens, attaching the slur to the
+stems might look better:
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Stem \set #'direction = #1
+ \property Voice.Slur \set #'direction = #1
+ d'32( d'4 )d8..
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+ d,32( d'4 )d8..
+@end lilypond
-@c. {Time signature}
-@node Time signature
-@subsection Time signature
-@cindex Time signature
-@cindex meter
-@cindex @code{\time}
-@example
- \time @var{numerator}@code{/}@var{denominator} @code{;}
-@end example
+Similarly, the curvature of a slur is adjusted to stay clear of note
+heads and stems. When that would increase the curvature too much, the
+slur is reverted to its default shape. The threshold for this decision
+is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
+related to the enclosed area between the slur and the notes. Usually,
+the default setting works well, but in some cases you may prefer a
+curved slur when LilyPond decides for a vertically moved one. You can
+express this by increasing the @code{beautiful} value:
+
+@lilypond[verbatim,singleline,relative]
+ \property Voice.Beam \override #'direction = #-1
+ \property Voice.Slur \override #'direction = #1
+ c'16( a' f' a a f a, )c,
+ c( a' f' a a f d, )c
+ \property Voice.Slur \override #'beautiful = #5.0
+ c( a' f' a a f d, )c
+@end lilypond
-A short-cut for doing
-@example
- \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
-@end example
+@refbugs
-See the documentation of @code{timeSignatureFraction}
+The definition for @code{beautiful} is vague, the default setting is
+experimental computer science.
+@cindex Adusting slurs
-@c. {Partial}
-@subsubsection Partial
-@cindex Partial
-@cindex anacrusis
-@cindex upstep
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
-@example
- \partial @var{duration} @code{;}
-@end example
+@node Phrasing slur
+@subsection Phrasing slur
-Short cut for
+@cindex phrasing slur
+@cindex phrasing mark
-@example
- \property Score.measurePosition = @var{length of duration}
-@end example
-@cindex @code{|}
+A phrasing slur (or phrasing mark) connects chords and is used to
+indicate a musical sentence. It is entered using @code{\(} and
+@code{\)}.
-See the documentation of @code{measurePosition}.
+@lilypond[fragment,verbatim,center,relative]
+ \time 6/4; c''\((d)e f(e)\)d
+@end lilypond
+Typographically, the phrasing slur behaves almost exactly like a normal
+slur. The grob associated with it is @code{Voice.PhrasingSlur}.
+@node Breath marks
+@subsection Breath marks
-@c. {Spanners}
-@node Spanners
-@subsection Spanners
-@cindex Spanners
+Breath marks are entered using @code{\breathe}:
-@menu
-* Beam::
-* Slur::
-* Tie::
-* Tuplet::
-* Volta::
-* Crescendo and Decrescendo::
-* Text spanner::
-* Ottava::
-* Span requests::
-@end menu
+@lilypond[fragment,relative]
+c'4 \breathe d4
+@end lilypond
-@c. {Beam}
-@node Beam
-@subsubsection Beam
-@cindex Beam
+Currently, only tick marks are supported, comma style breath marks are
+not. The grob for this object is called @code{Voice.BreathingSign}.
-@c. {Automatic beams}
-@unnumberedsubsubsec Automatic beams
-@cindex automatic beam generation
-@cindex autobeam
+@refbugs
-@cindex @code{Voice.noAutoBeaming}
+ Currently, only tick marks are supported, comma style breath marks are
+not.
-LilyPond will group flagged notes and generate beams autmatically, where
-appropriate. This feature can be disabled by setting the
-@code{Voice.noAutoBeaming} property to true, which you may find
-necessary for the melody that goes with lyrics, eg. Automatic beaming
-can easily be overridden for specific cases by specifying explicit
-beams, see @ref{Manual beams}.
-@cindex @code{Voice.autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@c . {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
-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}. To end beams every quarter
-note, for example, you could set the property @code{(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 * * * *)}, eg:
-@quotation
+@cindex @code{\tempo}
@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(make-moment 1 4)
-\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 1 8)
+ \tempo @var{duration} = @var{perminute} @code{;}
@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)}.
-
-
-@c. {Manual beams}
-@cindex Automatic beams
-@unnumberedsubsubsec Manual beams
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
+output with 76 quarter notes per minute.
+
+@refbugs
+
+The tempo setting is not printed, but is currently only used in the MIDI
+output.
+
-For most situations, beaming can be generated automatically; see section
-@ref{Automatic Beaming}. In certain cases it may be necessary to
-override the automatic beaming decisions that LilyPond makes. You can
-do this by specifying beams explicitely.
-A manual beam is specified by surrounding the notes that should make up
-the beam, with brackets `@code{[}' and `@code{]}'.
+@node Text spanner
+@subsection Text spanner
+@cindex Text spanner
-FIXME: example. (or tell: why would the auto-beamer fail here?)
+Some textual indications, e.g. rallentando, accelerando, often extend
+over a many measures. This is indicated by following the text with a
+dotted line. You can create such texts in LilyPond using
+text spanners. The syntax is as follows:
+@example
+\spanrequest \start "text"
+\spanrequest \stop "text"
+@end example
+LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
+string to be printed, as well as the style is set through grob
+properties.
-@lilypond[fragment,verbatim,center]
- [a'8 a'] [a'16 a' a' a']
- [a'16 <a' c''> c'' <a' c''>]
- \times 2/3 { [e'8 f' g'] }
+An application---or rather, a hack---is to fake octavation indications.
+@lilypond[fragment,relative,verbatim]
+ \relative c' { a'''' b c a
+ \property Voice.TextSpanner \set #'type = #'dotted-line
+ \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
+ \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
+ \property Staff.centralCPosition = #-13
+ a\spanrequest \start "text" b c a \spanrequest \stop "text" }
@end lilypond
+@c . {Ornaments}
+@node Ornaments
+@section Ornaments
+@cindex Ornaments
+@menu
+* Articulation::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
+@end menu
-@c. {Adjusting beams}
-@unnumberedsubsubsec Adjusting beams
-@cindex Adjusting beams
-
-FIXME
-
-@c. {Slur}
-
-@node Slur
-@subsubsection Slur
-@cindex Slur
-
-@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
-
+@c . {Articulation}
+@node Articulation
+@subsection Articulation
+@cindex Articulation
+@cindex articulations
+@cindex scripts
+@cindex ornaments
-@c. {Adjusting slurs}
-@unnumberedsubsubsec Adjusting slurs
-@c. {Tie}
-@cindex Adusting slurs
-@node Tie
-@subsubsection Tie
-
-@cindex Tie
-@cindex ties
-@cindex @code{~}
-
-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{~}'.
-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' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-
-[sparseTies]
-
-
-@c. {Tuplet}
-@node Tuplet
-@subsubsection Tuplet
-@cindex Tuplet
-
-See @ref{Times}.
-
-@c. {Volta}
-@node Volta
-@subsubsection Volta
-@cindex Volta
-
-See @ref{Repeat}.
-
-@c. {Crescendo and Decrescendo}
-@node Crescendo and Decrescendo
-@subsubsection Crescendo and Decrescendo
-@cindex Crescendo and Decrescendo
-@cindex crescendo
-@cindex @code{\cr}
-@cindex @code{\rc}
-@cindex @code{\decr}
-@cindex @code{\rced}
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\"!}
-
-
-
-A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
-started with @code{\decr} and terminated with @code{\rced}. There are
-also shorthands for these marks. A crescendo can be started with
-@code{\<} and a decrescendo can be started with @code{\>}. Either one
-can be terminated with @code{\!}. 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
-
-[todo: text cr]
-
-
-@c. {Text spanner}
-@node Text spanner
-@subsubsection Text spanner
-@cindex Text spanner
-
-Have crescendo set a text spanner instead of hairpin
-
-@lilypond[fragment,relative,verbatim]
- \context Voice {
- \property Voice.crescendoText = "cresc."
- \property Voice.crescendoSpanner = #'dashed-line
- a''2\mf\< a a \!a
- }
-@end lilypond
-
-@c. {Ottava}
-@node Ottava
-@subsubsection Ottava
-@cindex Ottava
-@unnumberedsubsubsec Ottava
-
-@lilypond[fragment,relative,verbatim]
- a'''' b c a
- \property Voice.TextSpanner \set #'type = #'dotted-line
- \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
- \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
- \property Staff.centralCPosition = #-13
- a\spanrequest \start "text" b c a \spanrequest \stop "text"
-@end lilypond
-
-
-
-@c. {Text crescendo and decrescendo}
-@unnumberedsubsubsec Text crescendo and decrescendo
-
-TODO
-
-@c. {Span requests}
-@node Span requests
-@subsubsection Span requests
-@cindex Span requests
-
-@cindex @code{\spanrequest}
-
-@example
- \spanrequest @var{startstop} @var{type}
-@end example
-@cindex @code{\start}
-@cindex @code{\stop}
-
-Define a spanning request. The @var{startstop} parameter is either -1
-(@code{\start}) or 1 (@code{\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.
-
-
-@c. {Ornaments}
-@node Ornaments
-@subsection Ornaments
-@cindex Ornaments
-@menu
-* Articulation::
-* Text scripts::
-* Grace notes::
-* Stem tremolo::
-* Arpeggio::
-* Glissando ::
-* Dynamics::
-* Bar lines::
-* Breath marks::
-* Rehearsal marks::
-@end menu
-
-@c. {Articulation}
-@node Articulation
-@subsubsection Articulation
-@cindex Articulation
-
-@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.
+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 {
\property Score.LyricSyllable \override #'font-family =
indent = 0.0;
}
}
-
@end lilypond
-@c. {Text scripts}
-@node Text scripts
-@subsubsection Text scripts
-@cindex Text scripts
-
-FIXME: markup
-
-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
-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.
-
-@c. {Fingerings}
-@unnumberedsubsubsec Fingerings
-@cindex Fingerings
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-
-@lilypond[]
+To save typing work, some shorthands are available:
+@lilypond[singleline]
\score {
\notes \context Voice {
\property Voice.TextScript \set #'font-family = #'typewriter
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
+@cindex fingering
+
+Fingering instructions can also be entered in this shorthand.
+@lilypond[verbatim, singleline, fragment]
+ c'4-1 c'4-2 c'4-3 c'4-4
@end lilypond
-@cindex @code{\textscript}
+@cindex @code{\script}
+@cindex scripts
+@cindex superscript
+@cindex subscript
@example
-
- \textscript @var{text} @var{style}
+ \script @var{alias}
@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}.
+Defines a script printing request. The argument is a string which
+points into the script-alias table defined in @file{scm/script.scm}.
+Usually the @code{\script} keyword is not used directly. Various
+helpful identifier definitions appear in @file{script.ly}.
+
+For information on how to add scripts, consult @file{scm/script.scm}.
+
+
+@refbugs
-You can attach a general textscript request using this syntax:
+All of these note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
+Unfortunately, there is no support adding fingering instructions or
+ornaments to individual note heads. Some hacks exist, though. See
+@file{input/test/script-horizontal.ly}.
+
+
+@c . {Text scripts}
+@node Text scripts
+@subsection Text scripts
+@cindex Text scripts
+
+In addition, it is possible to place arbitrary strings of text or markup
+text (see @ref{Text markup}) above or below notes by using a string:
+@code{c^"text"}. The text is typeset in italic by default.
+
+The amount of space taken by these indications by default does not
+influence, spacing, but setting @code{Voice.textNonEmpty} to true will
+take the widths into account. The identifier @code{\fattext} is defined
+in the standard includes.
+@lilypond[fragment,singleline,verbatim]
+\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
+@end lilypond
+
+Text scripts are created in form of @code{Voice.TextScript} grobs.
+
+For purposes of defining identifiers, a more verbose form also exists:
+
+@example
+ \textscript @var{text}
+@end example
+
+Defines a text to be printed over or under a note. @var{text} is a
+string or a markup text.
@quotation
@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
+foo = \textscript #'(finger "6")
+ [..]
+c4-\foo
@end example
@end quotation
This is equivalent to @code{c4-6 c4-"foo"}.
-@cindex @code{\script}
-@cindex scripts
+@c . {Grace notes}
+@node Grace notes
+@subsection Grace notes
+
+
+
+
+
+
+
+@cindex Grace music
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+@cindex @code{graceAlignPosition}
+
+Grace notes are ornaments that are written out, but do not take up any
+logical time in a measure. LilyPond has limited support for grace notes.
+The syntax is as follows.
+@example
+ \grace @var{musicexpr}
+@end example
+
+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{Stem}.@code{flag-style} property.
+
+@lilypond[fragment,verbatim]
+\relative c'' {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
+}
+@end lilypond
+
+
+At present, nesting @code{\grace} notes is not supported. The following
+may cause run-time errors:
@example
+ @code{\grace @{ \grace c32 c16 @} c4}
+@end example
+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.
+
+
+A grace note expression has duration 0; the next real note is assumed to
+be the main note. If you want the note to appear after the main note,
+set @code{Voice.graceAlignPosition} to @code{1}.
+
+@refbugs
+
+The present implementation of grace notes is not robust and generally
+kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
+also be implemented.
+
+
+
+@menu
+* Glissando ::
+* Dynamics::
+@end menu
+
+
+
+@c . {Glissando}
+@node Glissando
+@subsection Glissando
+@cindex Glissando
+
+@cindex @code{\glissando}
+
+A glissando line can be requested by attaching a @code{\glissando} to a
+note:
+
+@lilypond[fragment,relative,verbatim]
+ c'' \glissando c'
+@end lilypond
+
+@refbugs
+
+Printing of an additional text (such as @emph{gliss.}) must be done
+manually.
+
+
+
+@c . {Dynamics}
+@node Dynamics
+@subsection Dynamics
+@cindex Dynamics
+
+
+
+@cindex @code{\ppp}
+@cindex @code{\pp}
+@cindex @code{\p}
+@cindex @code{\mp}
+@cindex @code{\mf}
+@cindex @code{\f}
+@cindex @code{\ff}
+@cindex @code{\fff}
+@cindex @code{\ffff}
+@cindex @code{\fp}
+@cindex @code{\sf}
+@cindex @code{\sff}
+@cindex @code{\sp}
+@cindex @code{\spp}
+@cindex @code{\sfz}
+@cindex @code{\rfz}
+
+
+Absolute dynamic marks are specified by using an identifier after a
+note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+
+@lilypond[verbatim,singleline,fragment,relative]
+ c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
+@end lilypond
+
+@cindex Crescendo and Decrescendo
+@cindex crescendo
+@cindex @code{\cr}
+@cindex @code{\rc}
+@cindex @code{\decr}
+@cindex @code{\rced}
+@cindex @code{\<}
+@cindex @code{\>}
+@cindex @code{\"!}
+
+
+A crescendo mark is started with @code{\cr} and terminated with
+@code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
+started with @code{\decr} and terminated with @code{\rced}. There are
+also shorthands for these marks. A crescendo can be started with
+@code{\<} and a decrescendo can be started with @code{\>}. Either one
+can be terminated with @code{\!}. 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 s4 \< \! s4 \> \! s4 } >
+@end lilypond
+
+You can also use a text saying @emph{cresc.} instead of hairpins. Here
+is an example how to do it:
+
+@lilypond[fragment,relative,verbatim]
+ \context Voice {
+ \property Voice.crescendoText = "cresc."
+ \property Voice.crescendoSpanner = #'dashed-line
+ a''2\mf\< a a \!a
+ }
+@end lilypond
+
+
+
+@c . {Repeats}
+@node Repeats
+@section Repeats
+
+
+@cindex repeats
+@cindex @code{\repeat}
+
+To specify repeats, use the @code{\repeat} keyword. Since repeats
+should work differently when played or printed, there are a few
+different variants of repeats.
+
+@table @asis
+@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 unfortunately not
+practical for anything right now.
+
+@item tremolo
+Make tremolo beams.
+
+@item percent
+Make measure repeats. These look like percent signs.
+
+@end table
+
+@menu
+* Repeat syntax::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivision::
+* Measure repeats::
+@end menu
+
+@node Repeat syntax
+@subsection Repeat syntax
+
+The syntax for repeats is
+
+@example
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
+
+If you have alternative endings, you may add
+@cindex @code{\alternative}
+@example
+ \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:
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 { c'4 d' e' f' }
+ \repeat volta 2 { f' e' d' c' }
+@end lilypond
+
+With alternative endings:
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+@end lilypond
+
+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 at some point in the future.}
+
+@lilypond[fragment,verbatim]
+ c'1
+ \repeat fold 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+
+@end lilypond
+
+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.
+
+@lilypond[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \partial 4;
+ \repeat volta 3 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
+ }
+}
+@end lilypond
+
+@refbugs
+
+As you can see, LilyPond doesn't remember the timing information, nor
+are slurs or ties repeated, so you have to reset timing information
+after a repeat, e.g. using a bar-check (See @ref{Bar check}),
+@code{Score.measurePosition} or @code{\partial}. We hope to fix this
+after 1.4.
+
+It is possible to nest @code{\repeat}, although it probably is only
+meaningful for unfolded repeats.
+
+@node Manual repeat commands
+@subsection Manual repeat commands
+
+@cindex @code{repeatCommands}
+
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands, where each repeat
+command can be
+
+@table @code
+@item 'start-repeat
+ Print a |: bar line
+@item 'stop-repeat
+ Print a :| bar line
+@item (volta . @var{text})
+ Print a volta bracket saying @var{text}.
+@item (volta . #f)
+ Stop a running volta bracket
+@end table
+
+@lilypond[verbatim, fragment]
+ c''4
+ \property Score.repeatCommands = #'((volta "93") end-repeat)
+ c4 c4
+ \property Score.repeatCommands = #'((volta #f))
+ c4 c4
+@end lilypond
+
+
+@node Tremolo repeats
+@subsection Tremolo repeats
+@cindex tremolo beams
+
+To place tremolo marks between notes, use @code{\repeat} with tremolo
+style.
+@lilypond[verbatim,center,singleline]
+\score {
+ \context Voice \notes\relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+ \repeat "tremolo" 4 c16
+ }
+}
+@end lilypond
+
+@refbugs
+
+
+At present, the spacing between tremolo beams is not regular, since the
+spacing engine does not notice that not all notes are printed.
+
+@node Tremolo subdivision
+@subsection Tremolo subdivision
+@cindex tremolo marks
+@cindex @code{tremoloFlags}
+
+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 then the last value (stored in
+@code{Voice.tremoloFlags}) is used.
+
+@lilypond[verbatim,fragment,center]
+ c'2:8 c':32
+@end lilypond
+Using this mechanism pays off when you entering many tremolos, since the
+default argument saves a lot of typing.
+
+@refbugs
+
+
+Tremolos in this style do not carry over into the MIDI output.
+
+
+@node Measure repeats
+@subsection Measure repeats
+
+@cindex percent repeats
+@cindex measure repeats
+
+In the @code{percent} style, a note pattern can be repeated. It is
+printed once, and then the pattern is replaced with a special sign.
+
+@lilypond[verbatim,singleline]
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
+@end lilypond
+
+@refbugs
+
+You can not nest percent repeats, filling in the first measure with
+slashes, and repeating that measure with percents.
+
+@node Rhythmic music
+@section Rhythmic music
+
+
+@menu
+* Rhythmic staffs::
+@end menu
+
+@node Rhythmic staffs
+@subsection Rhythmic staffs
+
+Some times you might want to show only the rhythm of a melody. This can
+be done with the rhythmic staff. All pitches of notes on such a staff
+are squashed, and the staff itself looks has a single staff line:
+
+@lilypond[fragment,relative ]
+ \context RhythmicStaff {
+ \time 4/4;
+ c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
+ }
+@end lilypond
+
+
+@c . {Piano music}
+@node Piano music
+@section Piano music
+
+Piano music is an odd type of notation: two staffs are largely
+independent, but sometimes voices can cross between the two staffs. The
+@code{PianoStaff} is especially built to handle this cross-staffing
+behavior. In this section we discuss the @code{PianoStaff} and some
+other pianistic peculiarities.
+
+@menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* VoiceFollower::
+@end menu
+
+
+@c . {Automatic staff changes}
+@node Automatic staff changes
+@subsection Automatic staff changes
+@cindex Automatic staff changes
+
+Voices can be switched from top to bottom staff automatically. The
+syntax for this is
+@example
+ \autochange @var{contexttype} @var{musicexp}
+@end example
+This will switch notation context of @var{musicexp} between a
+@var{contexttype} named @code{up} and @code{down}. Typically, you use
+@code{Staff} for @var{contexttype}. The autochanger switches on basis
+of pitch (central C is the turning point), and it looks ahead skipping
+over rests to switch rests in advance.
+
+@lilypond[verbatim,singleline]
+\score { \notes \context PianoStaff <
+ \context Staff = "up" {
+ \autochange Staff \context Voice = VA < \relative c' {
+ g4 a b c d r4 a g } > }
+ \context Staff = "down" {
+ \clef bass;
+ s1*2
+} > }
+@end lilypond
+
+Note how spacer rests are used to prevent the bottom staff from
+terminating too soon.
+
+
+@node Manual staff switches
+@subsection Manual staff switches
+
+@cindex manual staff switches
+@cindex staff switch, manual
+
+Voices can be switched between staffs manually, using the following command:
+@example
+ \translator Staff = @var{which} @var{music}
+@end example
+The string @var{which} is the name of the staff. Typically it is
+@code{"up"} or @code{"down"}.
+
+Formally, this construct is 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.
+
+@cindex @code{\translator}
+@example
+ \translator @var{contexttype} = @var{name}
+@end example
+
+
+@c . {Pedals}
+@node Pedals
+@subsection Pedals
+@cindex Pedals
+
+Piano pedal instruction can be expressed using
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+
+These identifiers are shorthands for spanner commands of the types
+@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
+
+@lilypond[fragment,verbatim]
+c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
+@end lilypond
+
+The symbols that are printed can be modified by setting
+@code{pedal@var{X}Strings}, where @var{X} is one of the pedal
+types. Refer to the generated documentation for more information.
+
+@refbugs
+
+
+Currently, brackets are not supported, only text markings (ie. *Ped
+style).
+
+
+@c . {Arpeggio}
+@node Arpeggio
+@subsection Arpeggio
+@cindex Arpeggio
+
+@cindex broken arpeggio
+@cindex @code{\arpeggio}
+
+You can specify an arpeggio sign on a chord by attaching an
+@code{\arpeggio} to a note of the chord.
+
+
+@lilypond[fragment,relative,verbatim]
+ \context Voice <c'\arpeggio e g c>
+@end lilypond
+
+When an arpeggio crosses staffs in piano music, you attach an arpeggio
+to the chords in both staffs, and set
+@code{PianoStaff.connectArpeggios}.
+
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.connectArpeggios = ##t
+ \context Voice = one { <c''\arpeggio e g c> }
+ \context Voice = other { \clef bass; <c,,\arpeggio e g>}
+ >
+@end lilypond
+
+This command creates @code{Arpeggio} grobs.
+
+@refbugs
+
+ It is not possible to mix
+connected arpeggios and unconnected arpeggios at the same time.
+
+
+@c . {VoiceFollower}
+@node VoiceFollower
+@subsection VoiceFollower
+
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
+
+@cindex @code{followVoice}
+
+Whenever a voice switches to another staff a line connecting the notes
+can be printed automatically. This is enabled if the property
+@code{PianoStaff.followVoice} is set to true:
+
+@lilypond[fragment,relative,verbatim]
+ \context PianoStaff <
+ \property PianoStaff.followVoice = ##t
+ \context Staff \context Voice {
+ c'1
+ \translator Staff=two
+ b2 a
+ }
+ \context Staff=two {\clef bass; \skip 1*2;}
+ >
+@end lilypond
+
+
+@c . {Lyrics}
+@node Lyrics
+@section Lyrics
+
+
+@menu
+* Lyrics mode::
+* Printing lyrics::
+* Automatic syllable durations::
+* More stanzas::
+@end menu
+
+@c . {Lyrics mode}
+@node Lyrics mode
+@subsection Lyrics mode
+@cindex Lyrics mode
+
+To print lyrics in LilyPond, you must first make a music expression from
+the lyric text. When they're in a music expression, that music
+expression can be printed by selecting an appropriate context. We shall
+discuss lyric printing in this order.
+
+
+@cindex lyric mode
+@cindex @code{\lyrics}
+
+You can enter lyrics in a special input mode of LilyPond. This mode is
+called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
+The purpose of this mode is that you can enter lyrics as plain text,
+punctuation and accents without any hassle.
+
+The precise definition of this mode is in @ref{Lyrics mode
+definition}. The definition itself is ludicrous, and this will remain so
+until the authors of LilyPond acquire a deeper understanding of
+character encoding, or someone else steps up to fix this.
+
+Syllables are entered like notes, with pitches replaced by text. For
+example, @code{Twin- kle twin- kle} enters four syllables. Note that
+the hyphen has no special meaning for lyrics, and does not introduce
+special symbols.
+
+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.
+
+@c . {Printing lyrics}
+@node Printing lyrics
+@subsection Printing lyrics
+@cindex lyrics
+
+Normally, you will want to have notes and syllables matched
+automatically. This is accomplished using @code{\addlyrics}, which is
+documented in @ref{Automatic syllable durations}. Setting
+@code{automaticMelismata} in the melody staff, will cause slurs to be
+interpreted as melismata. Lyric syllables must be interpreted within a
+@code{Lyrics} context in order to printing them.
+
+@lilypond[verbatim,singleline]
+\addlyrics \notes \relative c' {
+ \time 7/4;
+ \property Staff.automaticMelismata = ##t
+ d'2 c4 b2 a2
+ b2 c4 b4 () a4 g2 }
+ \context Lyrics \lyrics {
+ Join us now and
+ share the so -- ftware; }
+@end lilypond
+
+@cindex extender
+@cindex lyric extender
+@cindex melisma
+
+As you can see, extender lines are entered as @code{__}. 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{_}).
+
+@cindex hyphen
+
+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.
+
+@cindex Lyric hyphen
+
+@node Automatic syllable durations
+@subsection Automatic syllable durations
+@cindex Automatic syllable durations
+
+@cindex automatic lyric durations
+@cindex @code{\addlyrics}
+
+If you have lyrics that are set to a melody, you can import the rhythm
+of that melody into the lyrics using @code{\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}.
+@cindex @code{automaticMelismata}
+
+If the property @code{automaticMelismata} is set in the
+context of @var{musicexpr1}, no lyrics will be put on slurred or tied
+notes.
+
+@lilypond[verbatim,fragment]
+\addlyrics
+\transpose c'' {
+ \property Voice.automaticMelismata = ##t
+ c8 () cis d8. e16 f2
+}
+\context Lyrics \lyrics {
+ do4 re mi fa }
+@end lilypond
+
+If you want the lyric lines to be above the melody staff, or in some
+other, more complex configuration, then build that configuration first
+using simultaneous music, and use @code{\addlyrics} after that.
+
+@lilypond[verbatim, singleline]
+\notes <
+ \context Lyrics = LA { s1 }
+ \context Staff = SA { s1 }
+ \addlyrics
+ \context Staff = SA \relative c' { c4 e g g }
+ \context Lyrics = LA \lyrics { geen ge -- don -- der } >
+@end lilypond
+
+For @code{\addlyrics} you should use a single rhythm melody, and single
+rhythm lyrics (a constant duration is the obvious choice). If you do
+not, you can get undesired effects when using multiple stanzas:
+
+@lilypond[verbatim,fragment]
+\addlyrics
+\transpose c'' {
+ c8 () cis d8. e16 f2
+}
+\context Lyrics \lyrics
+< { do4 re mi fa }
+ { do8 re mi fa } >
+@end lilypond
+
+It is valid (but probably not very useful) to use notes instead of
+lyrics for @var{musicexpr2}.
+
+@node More stanzas
+@subsection More stanzas
+
+@cindex phrasing
+
+If you have multiple stanzas printed underneath each other, the separate
+syllables should be aligned around punctuation. LilyPond can do this if
+you explain it which lyric lines belong to which melody.
+
+To this end, give the Voice context an identity, and set the LyricsVoice
+to name starting with that identity. In the following example, the Voice
+identity is @code{duet}, and the identities of the LyricsVoices are
+@code{duet-1} and @code{duet-2}.
+
+
+@lilypond[singleline,verbatim]
+\score {
+\addlyrics
+ \notes \relative c'' \context Voice = duet { \time 3/4;
+ g2 e4 a2 f4 g2. }
+ \lyrics \context Lyrics <
+ \context LyricsVoice = "duet-1" {
+ \property LyricsVoice . stanza = "Bert"
+ Hi, my name is bert. }
+ \context LyricsVoice = "duet-2" {
+ \property LyricsVoice . stanza = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >
+}
+@end lilypond
+
+You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
+first system) and @code{LyricsVoice.stz} for the following systems.
+
+@cindex stanza numbering
+
+
+@c . {Chords}
+@node Chords
+@section Chords
+@cindex Chords
+
+LilyPond has support for both entering and printing chords. Chords are
+a harmonic device that is characterized by a set of pitches. It is
+something different from simultaneous music, although you can express a
+chord using simultaneous music. In fact, chords are internally stored as
+simultaneous music expressions. This means you can enter chords by name,
+and print them as note head, or enter as notes and print as chord names:
+
+
+@lilypond[verbatim,singleline]
+twoWays = \notes \transpose c'' {
+ \chords {
+ c1 f:sus4 bes/f
+ }
+ <c e g>
+ <f bes c'>
+ <f bes d'>
+ }
+
+\score {
+ < \context ChordNames \twoWays
+ \context Staff \twoWays > }
+@end lilypond
+
+Note that this example also shows that the LilyPond chord does not
+attempt to be intelligent, if you enter @code{f bes d}, it does no
+attempt to find out whether it this is an inversion.
+
+@menu
+* Chords mode::
+* Printing named chords::
+@end menu
+
+@c . {Chords mode}
+@node Chords mode
+@subsection Chords mode
+@cindex Chords mode
+
+Chord mode is a mode where you can input sets of pitches using common
+names. It is introduced by the keyword @code{\chords}. It is similar
+to note mode, but words are also looked up in a chord modifier table
+(containing @code{maj}, @code{dim}, etc).
+
+Dashes and carets are used to indicate chord additions and subtractions,
+so articulation scripts can not be entered in Chord mode.
+
+The syntax for named chords is as follows:
+@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{.}).
+
+Throughout these examples, chords have been shifted around the staff
+using @code{\transpose}.
+
+@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
+
+@cindex @code{aug}
+@cindex @code{dim}
+@cindex @code{maj}
+@cindex @code{sus}
+
+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}' which
+raises the 5th, `@code{dim}' which lowers the 5th,
+`@code{maj}' which adds a raised 7th, and `@code{sus}'
+which replaces the 5th with a 4th.
+
+@lilypond[fragment,verbatim]
+\transpose c'' {
+ \chords {
+ c1:m c:min7 c:maj c:aug c:dim c:sus
+ }
+}
+@end lilypond
+
+
+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
+@cindex @code{/}
+
+Chord inversions can be specified by appending `@code{/}' and the name
+of a single note to a chord. In a chord inversion, the inverted note is
+transposed down until it is 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
+@cindex @code{/+}
- \script @var{alias}
-@end example
-@cindex @code{\script}
+Bass notes can be added by `@code{/+}' 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.
-Prints a symbol above or below a note. The argument is a string which
-points into the script-alias table defined in @file{scm/script.scm}, for
-information on how to add scripts, read the comments in that file.
-Usually the @code{\script} keyword is not used directly. Various
-helpful identifier definitions appear in @file{script.ly}.
+@lilypond[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/+c c/+g c:7/+b
+ }
+ }
+@end lilypond
-@c. {Grace notes}
-@node Grace notes
-@subsubsection Grace notes
-@cindex Grace notes
-See @ref{Grace music}.
+@c . {Printing named chords}
+@node Printing named chords
+@subsection Printing named chords
-@c. {Stem tremolo}
-@node Stem tremolo
-@subsubsection Stem tremolo
-@cindex tremolo marks
-@cindex @code{tremoloFlags}
+@cindex printing chord names
+@cindex chord names
+@cindex chords
+@cindex @code{ChordNames}
-[FIXME: should be \repeat]
-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} property if there was
-no last value.
+For displaying printed chord names, use the @code{ChordNames} context.
+The chords may be entered either using the notation described above, or
+directly using simultaneous music.
-@lilypond[verbatim,fragment,center]
- c'2:8 c':32
+@lilypond[verbatim,singleline]
+scheme = \notes {
+ \chords {a1 b c} <d f g> <e g b>
+}
+\score {
+ \notes<
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+}
@end lilypond
+You can make the chord changes stand out by setting property
+@code{ChordNames.chordChanges} to true. This will only display chord
+names when there's a change in the chords scheme and at the start of the
+line.
-@c. {Arpeggio}
-@node Arpeggio
-@subsubsection Arpeggio
-@cindex Arpeggio
-
-@cindex broken arpeggio
-@cindex @code{\arpeggio}
+@lilypond[verbatim]
+scheme = \chords {
+ c1:m \break c:m c:m c:m d
+}
-You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
-@c FIXME
+\score {
+ \notes <
+ \context ChordNames {
+ \property ChordNames.chordChanges = ##t
+ \scheme }
+ \context Staff \transpose c'' \scheme
+ > }
+@end lilypond
-@code{\arpeggio} request:
+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
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
+@lilypond[verbatim,center,singleline]
+scheme = \notes {
+ <c'1 e' g'>
+ <e' g' c''>
+ <e e' g' c''>
+}
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context Voice <c'\arpeggio e g c>
+\score {
+ <
+ \context ChordNames \scheme
+ \context Staff \scheme
+ >
+}
@end lilypond
-@end quotation
-Typesetting of simultanious chords with arpeggios can be controlled with
-the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
-connectArpeggios. Can't find the English terms for two kinds of
-arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
-default, LilyPond prints broken arpeggios; when set to true, one
-extended arpeggio sign is printed.
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.connectArpeggios = ##t
- \context Staff \context Voice <c''\arpeggio e g c>
- \context Staff=other \context Voice <c,\arpeggio e g>
- >
-@end lilypond
-@end quotation
+By default LilyPond uses chord name system proposed by Harald Banter
+(See @ref{Literature}). The system is is unambiguous and has a logical
+structure. Typical American style chord names may be selected by
+setting the @code{style} property of the @code{ChordNames.ChordName}
+grob to @code{'american}. Similarly @code{'jazz} selects Jazz
+chordnames.
+Routines that determine the names to be printed are written in Scheme,
+and may be customized by the user. The code can be found in
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
-@c. {Glissando}
-@node Glissando
-@subsubsection Glissando
-@cindex Glissando
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
+scheme = \chords {
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
+}
-@cindex @code{\glissando}
+\score {
+ \notes <
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
+ \context Staff \transpose c'' \scheme
+ >
+}
+@end lilypond
-A @rgrob{Glissando} line can be requested by issuing a
-FIXME
-@code{\glissando} request:
+@node Writing parts
+@section Writing parts
+Orchestral music involves some special notation, both in the full score,
+as in the individual parts. This section explains how to tackle common
+problems in orchestral music.
-@quotation
-@lilypond[fragment,relative,verbatim]
- c'' \glissando c'
-@end lilypond
-@end quotation
-Printing of the additional text @samp{gliss.} must be done manually.
+@c . {Transpose}
+@menu
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
+* Sound output for transposing instruments::
+* Multi measure rests::
+* Automatic part combining::
+* Hara-kiri staffs::
+@end menu
+@c . {Rehearsal marks}
+@node Rehearsal marks
+@subsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
+@cindex @code{Mark_engraver}
-@c. {Follow Thread}
-@subsubsection Follow Thread
-@cindex follow thread
-@cindex staff switching
-@cindex cross staff
+@example
+ \mark @var{unsigned};
+ \mark @var{string};
+ \mark ;
+@end example
-@c Documented here because it looks like a glissando...
-@cindex @code{followThread}
-A glissando-like line can be printed to connect notes whenever a thread
-switches to another staff. This is enabled if the property
-@code{PianoStaff.followThread} is set to true:
+With this command, you can print a rehearsal mark above the system. You
+can provide a number, a string or a markup text as argument. If there is
+no argument, the property @code{rehearsalMark} is used and automatically
+incremented.
-@quotation
-@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.followThread = ##t
- \context Staff \context Voice {
- c'1
- \translator Staff=two
- b2 a
- }
- \context Staff=two {\clef bass; \skip 1*2;}
- >
+@lilypond[fragment,verbatim]
+\relative c'' {
+ c1 \mark "A2";
+ c1 \mark ;
+ c1 \mark ;
+ c1 \mark "12";
+ c1 \mark #'(music "scripts-segno") ;
+ c1
+}
@end lilypond
-@end quotation
+@node Bar numbers
+@subsection Bar numbers
+Bar numbers are printed at the start of the line by default. This is
+done by the @code{Bar_number_engraver} in the Score context.
-@c. {Dynamics}
-@node Dynamics
-@subsubsection Dynamics
-@cindex Dynamics
+@refbugs
-@unnumberedsubsec Dynamics
-
-@cindex @code{\ppp}
-@cindex @code{\pp}
-@cindex @code{\p}
-@cindex @code{\mp}
-@cindex @code{\mf}
-@cindex @code{\f}
-@cindex @code{\ff}
-@cindex @code{\fff}
-@cindex @code{\ffff}
-@cindex @code{\fp}
-@cindex @code{\sf}
-@cindex @code{\sff}
-@cindex @code{\sp}
-@cindex @code{\spp}
-@cindex @code{\sfz}
-@cindex @code{\rfz}
+It is currently not possible to make boxed bar numbers, or print them at
+regular intervals.
-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},
-@code{\pp}, @code{\p}, @code{\mp},
-@code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\fff},
-@code{\fp}, @code{\sf},
-@code{\sff}, @code{\sp},
-@code{\spp}, @code{\sfz}, and
-@code{\rfz}.
-See also @ref{Crescendo and Decrescendo}
+@node Instrument names
+@subsection Instrument names
+You can specify an instrument name for a staff by setting
+@code{Staff.instrument} and @code{Staff.instr}. This will print a string
+before the start of the staff. For the first start, @code{instrument} is
+used, for the next ones @code{instr} is used.
-@c. {Bar lines}
-@node Bar lines
-@subsubsection Bar lines
-@cindex Bar lines
+@lilypond[verbatim,singleline]
+\score { \notes {
+ \property Staff.instrument = "ploink " { c''4 } }
+ \paper {
+ \translator { \StaffContext
+ \consists "Instrument_name_engraver"; } } }
+@end lilypond
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
+This requires that you add the @code{Instrument_name_engraver} to the
+staff context. You can also use markup texts to construct more
+complicated instrument names:
-@example
- \bar @var{bartype};
-@end example
-This is a short-cut for doing
-@example
- \property Score.whichBar = @var{bartype}
-@end example
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeat}, @ref{Volta}, and the documentation of @code{whichBar} in
-@ref{(lilypond-internals)LilyPond context properties}.
+\score { \notes {
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (rows " (B" ,text-flat ")")))
+ c'' 4 }
+ \paper {
+ \translator { \StaffContext
+ \consists "Instrument_name_engraver"; } } }
+@end lilypond
-[FIXME]
+@refbugs
-@c. {Breath marks}
-@node Breath marks
-@subsubsection Breath marks
-@cindex Breath marks
+When you put a name on a grand staff or piano staff (By adding an
+@code{Instrument_name_engraver} to that context and setting
+e.g. @code{\property GrandStaff.instrument}), the width of the brace is
+not taken into account. You must add extra spaces to the end of the name
+to avoid a collision.
-@c. {Rehearsal marks}
-@node Rehearsal marks
-@subsubsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
+A music expression can be transposed with @code{\transpose}. The syntax
+is
@example
- \mark @var{unsigned};
-@cindex @code{Mark_engraver}
- \mark @var{string};
+ \transpose @var{pitch} @var{musicexpr}
@end example
-Prints a mark over or under the staff.
-
-
-@c. {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
-@cindex bar check
-@cindex @code{barCheckNoSynchronize}
-@cindex @code{|}
+@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.
+@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
-Bar checks help you find errors in the input: Whenever one is
-encountered during interpretation, a warning message is issued if it
-doesn't fall at a measure boundary. Depending on the value of
-@code{barCheckNoSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
+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}.
-A bar check is entered using the bar symbol, @code{|}
+@node Sound output for transposing instruments
+@subsection Sound output transposing instruments
-This can help you finding errors in the input.
+When you want to play a score containing transposed and untransposed
+instruments, you have to instruct LilyPond the pitch offset (in
+semitones) for the transposed instruments. This is done using the
+@code{transposing} property. It does not affect printed output.
+@cindex @code{transposing}
-@c. {Lyrics entry}
-@node Lyrics entry
-@section Lyrics entry
-@cindex Lyrics entry
+@example
+ \property Staff.instrument = #"Cl. in B-flat"
+ \property Staff.transposing = #-2
+@end example
-@menu
-* Lyrics mode::
-* Printing lyrics::
-* Lyric hyphen::
-* Lyric extender::
-* Addlyrics::
-@end menu
-@c. {Lyrics mode}
-@node Lyrics mode
-@subsection Lyrics mode
-@cindex Lyrics mode
+@c . {Multi measure rests}
+@node Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
-@cindex lyric mode
-@cindex @code{\lyrics}
+@cindex @code{R}
-Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
-rules that make it easy to include punctuation and diacritical marks in
-words: 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 is ludicrous, and this will remain so until the
-authors of LilyPond acquire a deeper understanding of character
-encoding, or someone else steps up to fix this.
-
-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{^}.
-
-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. However, LilyPond will
-issue a warning. 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{}.
+Multi measure rests are entered using `@code{R}'. It is specifically
+meant for entering parts: the rest can expand to fill a score with
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
-@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
+@lilypond[fragment,verbatim]
+ \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+@end lilypond
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
+Currently, there is no way to condense multiple rests into a single
+multimeasure rest.
-[todo: include short table showing differences]
+@cindex condensing rests
-@cindex lyrics expressions
+@node Automatic part combining
+@subsection Automatic part combining
+@cindex automatic part combining
+@cindex part combiner
-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.
+Automatic part combining is used to merge two parts of music onto on
+staff in an intelligent way. It is aimed primarily at typesetting Hymns
+and orchestral scores. When the two parts are identical for a period of
+time, only one is shown. In places where the two parts differ, stem
+directions are set automatically. Also, soli and @emph{a due} parts can be
+identified and marke.
-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}.
+The syntax for part combining is
+@example
+ \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
+@end example
-@c. {Printing Lyrics}
-@node Printing lyrics
-@subsection lyricprint
-@cindex lyrics
+where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
+combined into one context @var{context}. The context names of the music
+expressions must start with the prefixes @code{one} and @code{two}.
+The most useful function of the part combiner to combining threads into
+one voice, as common for wind parts in orchestral scores:
-@cindex printing!lyrics
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ g a b r
+ }
+ \context Thread=two \relative c'' {
+ g r2 f4
+ }
+ >
+@end lilypond
+Notice that the first @code{g} appears only once, although it was
+specified twice (once in each Thread). Also note that stem, slur and tie
+directions are set automatically, depending whether there is a solo or
+unisono. The Thread called @code{one} always gets up stems, and "solo",
+while @code{two} always gets down stems and "Solo II".
+
+If you just want the splitting of Threads and setting of directions, and
+not the textual markings, you may set the property @var{soloADue} to
+false. This mode can be used to set hymns:
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \property Staff.soloADue = ##f
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ b4 a c g
+ }
+ \context Thread=two \relative c'' {
+ d,2 a4 g'
+ }
+ >
+@end lilypond
-Lyric syllables must be interpreted within a @code{Lyrics} context
+There are a number of other properties that you can use to tweak
+the behavior of part combining, refer to the automatically generated
+documentation. Look for @code{Thread_devnull_engraver}
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
-@cindex context!Lyrics
- for printing them.
+@refbugs
-Here is a full example:
+In @code{soloADue} mode, when the two voices play the same notes on and
+off, the part combiner may typeset @code{a2} more than once in a
+measure.
-@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
- }
+@lilypond[fragment,singleline]
+ \context Staff <
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ c b c b c a c a
+ }
+ \context Thread=two \relative c'' {
+ b b b b f a f a
+ }
>
-}
-
@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{_}).
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
-@quotation
+@node Hara-kiri staffs
+@subsection Hara-kiri staffs
+
+In orchestral scores, staffs that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the
+hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
+of the Japanese Samourai warriors.} staff. This staff commits suicide
+when it finds itself to be empty after the line-breaking process---note
+that it will not disappear when it contains normal rests, you must use
+multi measure rests.
+
+The hara kiri staff is specialized version of the Staff context. It is
+available as the context identifier @code{\HaraKiriStaffContext}.
+Observe how the second staff in this example disappears in the second
+line.
@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 __
- }
+\score {
+ \notes \relative c' <
+ \context Staff = SA { e4 f g a \break c1 }
+ \context Staff = SB { c4 d e f \break R1 }
>
+ \paper {
+ linewidth = 6.\cm ;
+ \translator { \HaraKiriStaffContext }
+ }
}
-
@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
+
+@c . {Custodes}
+@node Custodes
+@section Custodes
+@cindex Custos
+@cindex Custodes
+
+A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
+staff context symbol that appears at the end of a staff line. It
+anticipates the pitch of the first note(s) of the following line and
+thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
@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
+ \notes { c'1 d' e' d' \break c' d' e' d' }
+ \paper {
+ \translator {
+ \StaffContext
+ \consists Custos_engraver;
+ Custos \override #'style = #'mensural;
}
- >
+ }
}
-
@end lilypond
-@end quotation
+Custodes were frequently used in music notation until the 16th century.
+There were different appearences for different notation styles.
+Nowadays, they have survived only in special forms of musical notation
+such as via the @emph{editio vaticana} dating back to the beginning of
+the 20th century.
+For typesetting custodes, just put a @code{Custos_engraver} into the
+@code{StaffContext} when declaring the @code{\paper} block. In this
+block, you can also globally control the appearance of the custos symbol
+by setting the custos @code{style} property. Currently supported styles
+are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+@code{mensural}.
+@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \consists Custos_engraver;
+ Custos \override #'style = #'mensural;
+ @}
+@}
+@end example
-@c. {Lyric hyphen}
-@node Lyric hyphen
-@subsection Lyric hyphen
-@cindex Lyric hyphen
+The property can also be set locally, for example in a @code{\notes}
+block:
-The syntax for a spanning hyphen (i.e., a hyphen that will be printed
-between two lyric syllables) is `@code{-}@code{-}'.
+@example
+\notes @{
+ \property Staff.Custos \override #'style = #'vaticana
+ c'1 d' e' d' \break c' d' e' d'
+@}
+@end example
-@c. {Lyric extender}
-@node Lyric extender
-@subsection Lyric extender
-@cindex Lyric extender
-@cindex extender
-@cindex lyric extender
-@cindex hyphen
+@c . {Tuning output}
+@node Tuning output
+@section Tuning output
-The syntax for an extender mark is @code{__}. This syntax can only
-be used within lyrics mode.
+LilyPond tries to take as much formatting as possible out of your
+hands. Nevertheless, there are situations where it needs some help, or
+where you want to override its decisions. In this section we discuss
+ways to do just that.
+Notation output is specified in so called grobs (graphic objects). Each
+grob carries with it a set of properties (grob properties) specific to
+that object. For example, a stem grob has properties that specify its
+direction, length and thickness.
+The most common way of tuning the output is to alter the values of these
+properties. There are two ways of doing that: first, you can temporarily
+change the definition of a certain type of grob, thus affecting a whole
+set of objects. Second, you can select one specific object, and set a
+grob property.
-@c. {Addlyrics}
-@node Addlyrics
-@subsection Addlyrics
-@cindex Addlyrics
+@menu
+* Tuning groups of grobs ::
+* Tuning per grob ::
+* What to tune?::
+* Font selection::
+* Text markup::
+* Embedded @TeX{}::
+@end menu
+@node Tuning groups of grobs
+@subsection Tuning groups of grobs
-[explain automatic phrasing]
-@cindex automatic lyric durations
-@cindex @code{\addlyrics}
+@cindex grob description
-If you have lyrics that are set to a melody, you can import the rhythm
-of that melody into the lyrics using @code{\addlyrics}. The syntax for
-this is
+A grob definition is a Scheme association list, that is stored in a context
+property. By assigning to that property (using plain @code{\property}),
+you can change the resulting grobs.
+
+@lilypond[verbatim, fragment]
+c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
+@end lilypond
+
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that property specifying how it
+should be printed is erased, with the effect of rendering it invisible.
+The above assignment is available as a standard identifier, lest you
+find this useful:
@example
- \addlyrics @var{musicexpr1 musicexpr2}
+ \property Voice.Stem = \turnOff
@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}.
-@cindex @code{automaticMelismata}
+@cindex \override
+@cindex \revert
+@cindex \set
-If the property @code{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
+This mechanism is fairly crude, since you can only set, but not modify,
+the definition of a grob. For this reason, there is a more advanced
+mechanism: you can add a property on top of an existing definition, or
+remove a property: @code{\override} adds a settings, @code{\revert}
+removes that setting.
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = ##t
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
+@lilypond[verbatim]
+c'4 \property Voice.Stem \override #'thickness = #4.0
+c'4 \property Voice.Stem \revert #'thickness
+c'4
@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:
+For the digirati, the grob description is an Scheme association
+list. Since it is singly linked, we can treat it as a stack, and
+@code{\override} and @code{\revert} are just push and pop
+operations. This pushing and popping is also used for overriding automatic
+beaming settings.
-@quotation
-@lilypond[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
+If you revert a setting which was not set in the first place, then it
+has no effect. However, if the setting was set as a system default, it
+may remove the default value, and this may give surprising results,
+including crashes. In other words, if you use @code{\override} and
+@code{\revert}, be sure to balance the overrides and reverts.
-@end lilypond
-@end quotation
+If balancing them is too much work, use the @code{\set} shorthand. It
+performs a revert followed by an override:
+@example
+\property Voice.Stem \set #'thickness = #2.0
+@end example
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
+Formally the syntax for these constructions is
+@example
+\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{grobname} \revert @var{symbol}
+@end example
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} are strings and @var{value} is a Scheme expression.
+If you want to be
+Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
+follows
+@example
+\override \set \set \set \set
+\revert
+@end example
-@c. {Chord entry}
-@node Chord entry
-@section Chord entry
-@cindex Chord entry
+This is always correct, but if you know the default value, you can also use
+@example
+\set \set \set \set
+\set @var{to default value}
+@end example
-@menu
-* Chords mode::
-* Entering named chords::
-* Printing named chords::
-@end menu
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+\set \set \set \set \set
+\revert
+@end example
-@c. {Chords mode}
-@node Chords mode
-@subsection Chords mode
-@cindex Chords mode
-Chord mode is introduced by the keyword
-@code{\chords}. It is similar to Note mode, but
-words are also looked up in a chord modifier table (containing
-@code{maj}, @code{dim}, etc).
+@refbugs
-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.
+LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
-@c. {Entering named chords}
-@node Entering named chords
-@subsection Entering named chords
-@cindex Chords names
-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
+@node Tuning per grob
+@subsection Tuning per grob
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
+@cindex \outputproperty
+
+A second way of tuning grobs is the more arcane @code{\outputproperty}
+feature.
+Syntax is as follows
+@example
+\outputproperty @var{predicate} @var{symbol} = @var{value}
@end example
+Here @code{predicate} is a Scheme function taking a grob argument, and
+returning a boolean. This statement is processed by the
+@code{Output_property_engraver}. It instructs the engraver to feed all
+grobs that it sees to @var{predicate}. Whenever the predicate returns
+true, the grob property @var{symbol} will be set to @var{value}.
-@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{.}).
+You will need to combine this statement with @code{\context} to select
+the appropriate context to apply this to.
+If possible, avoid this feature: the semantics are not very clean, and
+the syntax and semantics are up for rewrite.
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
+Here are some random examples:
+@lilypond[fragment,verbatim,singleline]
+\relative c'' { c4
+ \context Staff \outputproperty
+ #(make-type-checker 'note-head-interface)
+ #'extra-offset = #'(0.5 . 0.75)
+ <c8 e g> }
+@end lilypond
-@quotation
+@cindex @code{extra-offset}
-@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
+This selects all note heads occurring at current staff level, and sets
+the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
+them up and right.
+
+Move the text "m.d.", but not the fingering instruction "2".
+@lilypond[verbatim,singleline]
+#(define (make-text-checker text)
+ (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
+
+\score {
+ \notes\relative c''' {
+ \property Voice.Stem \set #'direction = #1
+ \outputproperty #(make-text-checker "m.d.")
+ #'extra-offset = #'(-3.5 . -4.5)
+ a^2^"m.d."
}
}
-
@end lilypond
-@end quotation
-
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-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}' which
-raises the 5th, `@code{dim}' which lowers the 5th,
-`@code{maj}' which adds a raised 7th, and `@code{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
-
+@node What to tune?
+@subsection What to tune?
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a @code{^} character,
-separated by dots.
+This all tells you how to tune grobs, but what variables are there? The
+question is not answered in this manual (although you may encounter
+some examples.).
-@lilypond[fragment,verbatim,center]
- \transpose c'' {
- \chords {
- c1^3 c:7^5.3 c:8^7
- }
- }
-@end lilypond
-@cindex @code{/}
+Grob properties are tied directly to the implementation of LilyPond, and
+they are thus a moving target. Documentation of such variables are part
+of the generated documentation: this documentation is generated from the
+sourcecode of lily for each version, so it is usually mch more up to
+date than this manual. It should be available from the same place where
+you got this manual.
-Chord inversions can be specified by appending `@code{/}' 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.
+To decide how to tune a grob, you need to find the following information
+@itemize @bullet
+@item
+which grob to modify
+@item
+which property to modify
+@item
+which context the grob comes from.
+@end itemize
-@lilypond[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/e c/g c:7/e
- }
- }
+Included with the automatically generated documentation is a master list
+of grobs. Each one can be clicked, taking you to a overview of the
+available properties.
-@end lilypond
-@cindex @code{/+}
+There is also a master list of contexts. Clicking each takes you to an
+overview of the context, listing which grob types are created there.
-Bass notes can be added by `@code{/+}' 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
- }
- }
+@node Font selection
+@subsection Font selection
-@end lilypond
+Most graphics in LilyPond are composed of characters of fonts. You can
+alter the characteristics of the font by setting certain grob
+properties. The mechanism that is used for this resembles LaTeX's New
+Font Selection Scheme. Within this scheme, a font is entirely
+characterized by its font name.
-The most interesting application is printing chords using chord names,
-See @ref{Chord names}.
+For each grob that uses fonts (in other words, each grob that supports
+@code{font-interface}) a font-name must be selected before it can be
+printed. The font name is selected by looking at a number of grob
+properties:
-You should not combine @code{\relative} with named chords. [FIXME]
+@table @code
+@item font-family
+ The general class of the typeface. Supported are roman (Computer
+Modern), braces (for piano staff braces), music (the standard music
+font), dynamic (font for dynamic signs) and typewriter
+
+@item font-shape
+ A symbol indicating the shape of the font, a finer gradation than
+ font-family. Choices are italic and upright
+@item font-series
+ Symbol indicating the serie of the font. Series form a finer gradation
+ than font-shape. Choices are medium and bold.
+
+@item font-relative-size
+ A number indicating the size relative the standard size. For example,
+ with 20pt staff height, relative size -1 corresponds to 16pt staff
+ height, and relative size +1 corresponds to 23 pt staff height.
+
+@item font-design-size
+A number indicating the design size of the font.
+
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability. Scalable type faces such TrueType and Adobe
+Type1 usually come as ``one design fits all sizes''.
+
+@item font-name
+ The name of the font, without the design size, eg. @code{cmr},
+@code{cmti}, etc. Setting this overrides font-family, font-shape and
+font-series.
-@c. {Printing named chords}
-@node Printing named chords
-@subsection Printing named chords
+@end table
-@cindex chord names
-@cindex chords
+The font is selected by taking the first font that satisfies all
+qualifiers specified. You can override any of these fields through
+@code{\override} and @code{\revert}. The special value @code{*} matches
+any value for that qualifier.
-@cindex printing!chord names
-@cindex @code{ChordNames}
-@cindex @code{ChordNameVoice}
+@example
+ \property Lyrics.LyricText \override #'font-series = #'bold
+ \property Lyrics.LyricText \override #'font-shape = #'*
+@end example
-For displaying printed chord names, use the @code{ChordNames} and
-@code{ChordNameVoice} contexts. The chords may be entered either using
-the notation described above, or directly using simultaneous music.
+@cindex @code{font-style}
-@quotation
-@lilypond[verbatim]
-scheme = \notes {
- \chords {a1 b c} <d f g> <e g b>
-}
-\score {
- \notes<
- \context ChordNamesVoice \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper { linewidth = -1.; }
-}
-@end lilypond
-@end quotation
+There are also pre-cooked font selection qualifiers. These are selected
+through the grob property @code{font-style}. For example, the style
+@code{finger} selects family @code{number} and relative size @code{-3}.
+Styles available include: volta, finger, tuplet, timesig, mmrest,
+script, large, Large and dynamic.
-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:
+The style sheets and tables for selecting fonts are located in
+@file{scm/font.scm}. Refer to this file for more information.
-@c bug
-@quotation
-@lilypond[verbatim]
-scheme = \chords {
- c1:m \break c:m c:m c:m d
-}
+@refbugs
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper{
- linewidth = 40 * \staffspace;
- \translator {
- \ChordNamesContext
- chordChanges = ##t
- }
- }
-}
-@end lilypond
-@end quotation
+Relative size is not linked to any real size. There is no mechanism to
+select magnifications of fonts, meaning that you can not scale fonts
+continuoussly. There is no style sheet provided for other fonts besides
+the @TeX{} family.
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
-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:
+@node Text markup
+@subsection Text markup
+@cindex text markup
+@cindex markup text
-@quotation
-@lilypond[verbatim,center]
-scheme = \notes {
- <c'1 e' g'>
- <e' g' c''>
- <e e' g' c''>
-}
+LilyPond has an internal mechanism to typeset texts. You can
+form text markup expressions by composing scheme expressions
+in the following way.
-\score {
- <
- \context ChordNamesVoice \scheme
- \context Staff \scheme
- >
- \paper { linewidth = -1.; }
-}
+@lilypond[verbatim, singleline]
+ \relative c' {
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" "flags-u3")
+ }
@end lilypond
-@end quotation
-
-To specify chord inversions, append @code{/<notename>}. To specify an
-added bass note, append @code{/+<notename}:
-
-@quotation
-@lilypond[verbatim,center]
-scheme = \chords {
- d1 d/a d/+gis
-}
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper { linewidth = -1.; }
-}
-@end lilypond
-@end quotation
+Normally, the Scheme markup text is stored in the @code{text} property
+of a grob. Formally, it is defined as follows:
-The chord names that LilyPond should print are fully customizable. The
-code to print chord names is written in Scheme. It 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 property @code{ChordName.style}
-to @code{american}:
+@example
+text: string | (head? text+)
+head: markup | (markup+)
+markup-item: property | abbrev
+property: (@var{key} . @var{value})
+abbrev: @code{rows lines roman music bold italic named super sub text}
+ @code{finger volta timesig mmrest mark script large Large dynamic}
+@end example
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
+The markup is broken down and converted into a list of grob properties,
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property.
-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
-}
+The following abbreviations are currently defined:
-\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
+@table @code
+@item rows
+horizontal mode: set all text on one line (default)
+@item lines
+ vertical mode: set every text on new line
+@item roman
+ select roman font
+@item music
+ select feta font
+@item bold
+ select bold series
+@item italic
+ select italic shape
+@item named
+ lookup by character name
+@item text
+ plain text lookup (by character value)
+@item super
+ superscript
+@item sub
+ subscript
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
+@end table
+
+It is possible to use @TeX{} commands in the strings, but this should be
+avoided because this makes it impossible for LilyPond to compute the
+exact length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct postscript output.
+
+@cindex metronome mark
+
+One practical application of complicated markup is to fake a metronome
+marking:
-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
-}
+#(define note '(rows
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(rows ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(rows ,eight-note (music "dots-dot")))
\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
+ \notes\relative c'' {
+ a1^#`((rows (font-relative-size . -1)) ,dotted-eight-note " = 64")
+ }
\paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'jazz
+ linewidth = -1.;
+ \translator{
+ \ScoreContext
+ TextScript \override #'font-shape = #'upright
}
}
}
@end lilypond
-@end quotation
+@node Embedded @TeX{}
+@subsection Embeded @TeX{}
+@cindex embedded tex
+@cindex embedded tex
+
+You can use @TeX{} commands in text scripts, but this should be avoided
+because this makes it impossible for LilyPond to compute the exact
+length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct PostScript output.
+
+@lilypond[fragment,relative,verbatim]
+ a''^"3 $\\times$ \\`a deux"
+@end lilypond
+
+@subsection Embedded PostScript
+@cindex embedded postscript
+@cindex embedded postscript
+You can also use raw PostScript commands embedded in text scripts. This
+offers ultimate flexibitily, but you'll have to learn the arcane
+PostScript language. Currently, embedded PostScript will @strong{not}
+work with direct PostScript output. Note that all dimensions that you
+use are in @code{staff-space}s.
+
+@lilypond[verbatim]
+\score {
+ \notes \relative c'' {
+ a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
+ -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
+ b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
+ s2
+ a'1
+ }
+ \paper { linewidth = 70 * \staffspace; }
+}
+@end lilypond
-@c. {Page layout}
+@c . {Page layout}
@node Page layout
@section Page layout
@cindex Page layout
* Page break::
@end menu
-@c. {Paper block}
+@c . {Paper block}
@node Paper block
@subsection Paper block
@cindex Paper block
@item An assignment. The assignment must be terminated by a
semicolon.
- @item A context definition. See section @ref{contextdefs} for
+ @item A context definition. See @ref{Notation Contexts} for
more information on context definitions.
-@ignore
-
- FIXME
-
-
- @item
-
- A margin shape declaration. The syntax is
-@cindex @code{\shape}
- @example
-
- \shape @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} @dots{} @code{;}
- @end example
-
-
-
- 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}.
+ See @file{scm/font.scm} for details of @var{alist}.
+ @item an \elementdescriptions declaration.
+ @example
+ \elementdescriptions @var{alist}
+ @end example
+ See @file{scm/grob-description.scm} for details of @var{alist}.
+
@end itemize
-@c. {Paper variables}
+@c . {Paper variables}
@node Paper variables
@subsection Paper variables
@cindex Paper variables
@item @code{staffspace}
The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
+ of the lines. If you want scale independent output, then you should
+use either this or @code{stafflinethickness}
as a unit for distances you modify.
@cindex @code{linewidth}
@item @code{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
+ Sets the width of the lines.
+
+If set to a negative value, a single unjustified line is produced.
+@c rename to singleLinePaper ?
+The shorthand @code{\singleLine} defines a default paper block that
+produces a single line.
+
@cindex @code{textheight}
@item @code{textheight}
Sets the total height of the music on each page. Only used by
- ly2dvi.
+@code{ly2dvi}.
+
@cindex @code{interscoreline}
@item @code{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
+ Sets the spacing between systems.
+Not set by default.
@cindex @code{interscorelinefill}
+
+
@item @code{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.
+
+ Not set by default.
+
+
@cindex @code{stafflinethickness}
@item @code{stafflinethickness}
@end table
-@c. {Font size}
+
+@c . {Font size}
@node Font Size
@subsection Font size
@cindex font size
-@c. {Paper size}
+@c . {Paper size}
@node Paper size
@subsection Paper size
@cindex Paper size
@}
@end example
-The file "paper16.ly" will now include a file named @file{a4.ly}, which
+The file @code{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})
-@c. {Line break}
+@c . {Line break}
@node Line break
@subsection Line break
-@cindex Line break
-
-
-@cindex @code{\penalty}
-
-@example
- \penalty @var{int} @code{;}
-@end example
-
-Discourage or encourage line breaks. See @ref{Page layout}.
-
-
-
@cindex line breaks
@cindex breaking lines
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 "";}.
-
+this by specifying @code{\break}. 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 an invisible barline by entering @code{\bar "";}.
+Similarly, @code{\noBreak} forbids a line break at a certain point.
+@cindex @code{\penalty}
-@c. {Page break}
-@node Page break
-@subsection Page break
-@cindex Page break
+The @code{\break} and @code{\noBreak} commands are defined in terms of
+the penalty command:
+@example
+ \penalty @var{int} @code{;}
+@end example
+This encourages or discourages LilyPond to make a line break at this
+point.
-Not implemented, but see @ref{Tricks}
+@refbugs
-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}
+The scaling of the @code{\penalty} argument is not well-defined. The
+command is rather kludgy, and slated for rewriting.
+@c . {Page break}
+@node Page break
+@subsection Page break
@cindex page breaks
@cindex breaking pages
+Page breaks are normally computed by @TeX{}, so they are not under
+direct control of LilyPond. However, you can insert a commands into the
+@file{.tex} output to instruct @TeX{} where to break pages. For more
+details, see the example file @file{input/test/between-systems.ly}
-@c. {Sound}
+
+
+@c . {Sound}
@node Sound
@section Sound
@cindex Sound
+
+LilyPond can produce MIDI output. The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
+
+The MIDI volume is composed of two elements: the current dynamics of the
+voice and the type of musical instrument.
+
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
+
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equaliser control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding
+the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
+
+@refbugs
+
+It is currently not possible to use the percussion channel (generally
+channel 10 of a MIDI file).
+
@menu
* MIDI block::
* MIDI instrument names::
-* Tempo::
@end menu
-@c. {MIDI block}
+@c . {MIDI block}
@node MIDI block
@subsection MIDI block
@cindex MIDI block
The contexts for MIDI output are defined in @file{ly/performer.ly}.
-@c. {MIDI instrument names}
@node MIDI instrument names
@subsection MIDI instrument names
+
@cindex instrument names
@cindex @code{Staff.midiInstrument}
@cindex @code{Staff.instrument}
The MIDI instrument name is set by the @code{Staff.midiInstrument}
property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the following list.
+property. The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
+
+@refbugs
+
If the selected string does not exactly match, then LilyPond uses the
-default piano.
+default piano. It is not possible to select an instrument by number.
-[FIXME: to appendix ]
-@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. {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
-@cindex @code{\tempo}
+@c . {Music entry}
+@node Music entry
+@section Music entry
+@cindex Music entry
+@menu
+* Relative::
+* Bar check::
+* Point and click::
+@end menu
+
+One of the applications of LilyPond is to enter music from existing
+written or printed material. When you're doing this kind of copying
+work, you can easily make mistakes. This section deals with tricks and
+features that help you enter music, and find and correct mistakes.
+
+@c . {Relative}
+@node Relative
+@subsection Relative
+@cindex Relative
+@cindex relative octave specification
+
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch in
+the wrong octave and hard to find such an error. To prevent these
+errors, LilyPond features octave entry.
+
+@cindex @code{\relative}
@example
- \tempo @var{duration} = @var{perminute} @code{;}
+ \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.
+ 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}.
+
+This distance is determined without regarding accidentals: a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses}.
+
+Entering music that changes octave frequently is easy in relative mode.
+@lilypond[fragment,singleline,verbatim,center]
+ \relative c'' {
+ b c d c b c bes a
+ }
+@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 <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end lilypond
+@cindex @code{\notes}
+
+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} keyword (which is not
+shown here).
+
+The relative conversion will not affect @code{\transpose},
+@code{\chords} 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}.
+
+
+@c . {Bar check}
+@node Bar check
+@subsection Bar check
+@cindex Bar check
+
+@cindex bar check
+@cindex @code{barCheckNoSynchronize}
+@cindex @code{|}
+
+
+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 find errors in the input. Depending on the value of
+@code{barCheckNoSynchronize}, the beginning of the measure will be
+relocated, so this can also be used to shorten measures.
+
+A bar check is entered using the bar symbol, @code{|}
+
+@c . {Point and click}
+@node Point and click
+@subsection Point and click
+
+Point and click lets you find notes in the input by clicking on them in
+the Xdvi window. This makes it very easy to find input that causes some
+error in the sheet music.
+
+To use it, you need the following software
+
+@itemize
+@item
+@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
+Xdvi} version 22.36 or newer.
+
+ Note that most @TeX{} distributions ship with xdvik, which is a
+ different and less well maintained program. To find out which xdvi you
+ are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
+@item emacs
+@end itemize
+
+Add one these lines to the top of your .ly file. The first one is for
+line location only. The second one is more convenient, but requires
+patching @code{emacsclient}.
+
+@example
+#(set! point-and-click line-location)
+#(set! point-and-click line-column-location)
+@end example
+
+In the emacs startup file (usually @file{~/.emacs}), add the following
+@example
+(server-start)
+@end example
+
+If you want emacs to jump to the exact spot (and not just the line) on a
+click, you must enable column positioning. To do so, you need to patch
+emacsclient. Apply @file{emacsclient.patch} (included with the source
+package) to @file{emacsclient.c} and @file{server.el} from the emacs
+source code. Recompile and stick the recompiled emacsclient into a bin
+directory, and put @file{server.el} into a elisp directory
+(eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
+init file, before invoking server-start.
+
+@example
+ (setq load-path (cons "~/usr/share/emacs" load-path))
+@end example
+
+
+Xdvi must be configured to use the emacs editor. Before starting, set
+the environment variable @code{XEDITOR} to
+@example
+emacsclient --no-wait +%c:%l %f
+@end example
+Xdvi also must be configured to find the fonts. Refer to the
+xdvi documentation for more information.
+
+When viewing, control-mousebutton 1 will take you to the originating
+line and column. Control-mousebutton 2 will show all clickable boxes.
+
+@refbugs
+
+When you convert the TeX file to PostScript using dvips, dvips
+will complain about not finding @code{src:X:Y} files. Those complaints are
+harmless, and can be ignored.
+
+
+@node Skipping corrected music
+@section Skipping corrected music
+
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors.
+
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+ e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 }
+@end lilypond
+
+
+@node Interpretation context
+@section Interpretation context
+
+@menu
+* Notation Contexts::
+* Creating contexts::
+* Default contexts::
+* Context properties::
+* Changing context definitions::
+* Defining new contexts::
+@end menu
+
+
+@c . {Notation Contexts}
+@node Notation Contexts
+@subsection Notation Contexts
+
+@cindex notation contexts
+
+Notation contexts are objects that only exist during a run of LilyPond.
+During the interpretation phase of LilyPond (when it prints
+"interpreting music"), the music expresiion in a @code{\score} block is
+interpreted in time order. This is the same order that humans hear and
+play music.
+
+During this interpretation, the notation context is holds the state for
+the current point within the music. It contains information like
+
+@itemize @bullet
+ @item What notes are playing at this point?
+ @item What symbols will be printed at this point?
+ @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 performance contexts.
+
+
+@node Creating contexts
+@subsection Creating contexts
+
+@cindex @code{\context}
+@cindex context selection
+
+Contexts for a music expression can be selected manually, using the
+following music expression.
+
+@example
+ \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
+
+This instructs lilypond to interpret @var{musicexpr} within the context
+ of type @var{contexttype} and with name @var{contextname}. If this
+context does not exist, it will be created.
+
+@lilypond[verbatim,singleline]
+\score {
+ \notes \relative c'' {
+ c4 <d4 \context Staff = "another" e4> f
+ }
+}
+
+@end lilypond
+
+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.
+
+
+
+@node Default contexts
+@subsection Default contexts
+
+Most music expressions don't need @code{\context}: they inherit the
+notation context from their parent. Each note is a music expression, and
+as you can see in the following example, only the sequential music
+enclosing the three notes has an explicit context.
+
+@lilypond[verbatim,singleline]
+\score { \notes \context Voice = goUp { c'4 d' e' } }
+@end lilypond
+
+There are some quirks that you must keep in mind when dealing with
+defaults:
+
+First, every top-level music is interpreted by the Score context, in other
+words, you may think of @code{\score} working like
+@example
+ \score @{
+ \context Score @var{music}
+ @}
@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
+Second, sequential music follows the contexts of its
+``children''. Consider the following example.
+
+@lilypond[verbatim, singleline]
+\score { \context Score \notes { c'4 ( d' )e' } }
+@end lilypond
+
+The sequential music is interpreted by the Score context initially
+(notice that the @code{\context} specification is redundant), but when a
+note is encountered, contexts are setup to accept that note. In this
+case, a Thread, Voice and Staff are created. The rest of the sequential
+music is also interpreted with the same Thread, Voice and Staff context,
+putting the notes on the same staff, in the same voice.
+
+This is a convenient mechanism, but do not expect opening chords to work
+without @code{\context}. For every note, a separate staff is
+instantiated.
+
+@lilypond[verbatim, singleline]
+\score { \notes <c'4 es'> }
+@end lilypond
+Of course, if the chord is preceded by a normal note in sequential
+music, the chord will be interpreted by the Thread of the preceding
+note:
+@lilypond[verbatim,singleline]
+\score { \notes { c'4 <c'4 es'> } }
+@end lilypond
+@node Context properties
+@subsection Context properties
-@c. {Music entry}
-@node Music entry
-@section Music entry
-@cindex Music entry
-@menu
-* Pre-defined Identifiers::
-* Point and click::
-@end menu
+Notation contexts can be modified from within the @file{.ly} file. The
+following music expression does that job:
+
+@cindex @code{\property}
+@example
+ \property @var{contextname}.@var{propname} = @var{value}
+@end example
+
+Sets the @var{propname} property of the context @var{contextname} to the
+specified Scheme expression @var{value}. All @var{propname} and
+@var{contextname} are strings, which are typically unquoted.
-@c. {Pre-defined Identifiers}
-@node Pre-defined Identifiers
-@subsection Pre-defined Identifiers
-@cindex pre-defined identifiers
+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 unset using the following expression:
+@example
+ \property @var{contextname}.@var{propname} \unset
+@end example
-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}.
+This removes the definition of @var{propname} in @var{contextname}. If
+@var{propname} was not defined in @var{contextname} (but was inherited
+from a higher context), then this has no effect.
-@table @code
-@cindex @code{\break}
- @item @code{\break}
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
-
-@cindex @code{\nobreak}
- @item @code{\nobreak}
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
-
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
-
-@cindex @code{\shiftOn}
- @item @code{\shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems, beams, and slurs to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems, beams and slurs to point up.
-@end table
+@refbugs
+@code{\property \unset} is not the inverse of @code{\property \set}
-@c. {Point and click}
-@node Point and click
-@subsection Point and click
-[todo]
-@c. {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
-@menu
-* Context definitions::
-* Notation Contexts::
-@end menu
-@c. {Context definitions}
-@node Context definitions
-@subsection Context definitions
+@c . {Context definitions}
+@node Changing context definitions
+@subsection Changing context definitions
@cindex context definition
@cindex translator definition
-@cindex engraver hacking
-
-A notation contexts is defined by the following information
+The most common way to define a context is by extending an existing
+context. You can change an existing context from the paper block, by
+first initializing a translator with an existing context identifier:
+@example
+\paper @{
+ \translator @{
+ @var{context-identifier}
+ @} @}
+@end example
+Then you can add engravers, remove engravers.
+The syntax for these operations are respectively
+@example
+ \remove @var{engravername}
+ \consists @var{engravername}
+@end example
-@enumerate 1
- @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
-.
+Here @var{engravername} is a string, the name of an engraver in the
+system.
+@example
+ @var{propname} = @var{value}
+@end example
- @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,
+@lilypond[verbatim,singleline]
+\score { \notes {
+ c'4 c'4 }
+ \paper {
+ \translator { \StaffContext
+ \remove Clef_engraver;
+ } } }
+@end lilypond
- @item What properties are defined.
-@end enumerate
+@cindex engraver
-A context definition has this syntax:
+You can also set properties in a translator definition. The syntax is as
+follows:
+@var{propname} is a string and @var{value} is a Scheme
+expression.
@example
+ @var{propname} = @var{value}
+ @var{propname} \set @var{symbol} = @var{value}
+ @var{propname} \override @var{symbol} = @var{value}
+ @var{propname} \revert @var{symbol}
- \translator @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
@end example
-@var{translatorinit} can be an identifier or of the form
+These type of property assignments happen before interpretation starts,
+so a @code{\property} expression will override any predefined settings.
-@example
- \type @var{typename} @code{;}
+ To simplify editing translators, all standard contexts have standard
+identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
+@code{VoiceContext}.
+
+@node Defining new contexts
+@subsection Defining new contexts
+
+If you want to build a context from scratch, you must also supply the
+following extra information:
+@itemize @bullet
+ @item A name, specified by @code{\name @var{contextname};}.
+
+ @item A cooperation module. This is specified by @code{\type
+@var{typename};}.
+@end itemize
+
+This is an example:
+@example
+\translator @code{
+ \type "Engraver_group_engraver";
+ \name "SimpleStaff";
+ \alias "Staff";
+ \consists "Staff_symbol_engraver";
+ \consists "Note_head_engraver";
+ \consistsend "Axis_group_engraver";
+}@
@end example
-@var{typename} is one of
+Basic building blocks of translation are called engravers; they are
+special C++ classes.
+The argument of @code{\type} is the name for a special engraver that
+handles cooperation between simple engravers such as
+@code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
+for this engraver are the following:
@table @code
@cindex @code{Engraver_group_engraver}
@item @code{Engraver_group_engraver}
The standard cooperation engraver.
+
@cindex @code{Score_engraver}
@item @code{Score_engraver}
- This is cooperation module that should be in the top level context.
+ This is cooperation module that should be in the top level context,
+and only the toplevel context.
+
@cindex @code{Grace_engraver_group}
@item @code{Grace_engraver_group}
`miniscore'.
@end table
-@var{translatormodifierlist} is a list of items where each item is
-one of
+Other modifiers are
@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{\alias} @var{alternate-name} @code{;}
+ This specifies a different name. In the above example,
+@code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
+
@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
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
such an identifier outside of @code{\score}, you must do
@quotation
-
@example
\paper @{
foo = \translator @{ @dots{} @}
@cindex paper types, engravers, and pre-defined translators
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
-
-@table @code
-@cindex @code{StaffContext}
- @item @code{StaffContext}
- Default Staff context.
-@cindex @code{RhythmicStaffContext}
+
- @item @code{RhythmicStaffContext}
- Default RhythmicStaff context.
-@cindex @code{VoiceContext}
- @item @code{VoiceContext}
- Default Voice context.
-@cindex @code{ScoreContext}
- @item @code{ScoreContext}
- Default Score context.
-@cindex @code{ScoreWithNumbers}
- @item @code{ScoreWithNumbers}
- Score context with numbering at the Score level.
-@cindex @code{BarNumberingStaffContext}
+@c . {Syntactic details}
+@node Syntactic details
+@section Syntactic details
+@cindex Syntactic details
- @item @code{BarNumberingStaffContext}
- Staff context with numbering at the Staff level.
-@cindex @code{HaraKiriStaffContext}
+This section describes details that were too boring to be put elsewhere.
- @item @code{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 Japanese Samourai warriors.}
-@cindex @code{OrchestralPartStaffContext}
+@menu
+* Top level::
+* Identifiers::
+* Music expressions::
+* Manipulating music expressions::
+* Assignments::
+* Lexical modes::
+* Ambiguities::
+@end menu
- @item @code{OrchestralPartStaffContext}
-@cindex @code{OrchestralScoreContext}
+@c . {Top level}
+@node Top level
+@subsection Top level
+@cindex Top level
- @item @code{OrchestralScoreContext}
-@end table
+This section describes what you may enter at top level.
-Using these pre-defined values, you can remove or add items to the
-translator:
-@quotation
+@c . {Score}
+@subsubsection Score
+@cindex Score
-@example
-\paper @{
- \translator @{
- \StaffContext
- \remove Some_engraver;
- \consists Different_engraver;
- @}
-@}
-@end example
+@cindex score definition
-@end quotation
+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 none is
+supplied, the default @code{\paper} block will be added.
-@c. {Notation Contexts}
-@node Notation Contexts
-@subsection 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.
+@c . {Default output}
+@subsubsection Default output
-A context is an object that holds the reading state of the
-expression; it contains information like
+Default values for the @code{\paper} and @code{\midi} block are set by
+entering such a block at top-level.
-@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
+@c . {Header}
+@subsubsection Header
+@cindex Header
+@cindex @code{\header}
-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 performance contexts.
+A header describes bibilographic information of the file's contents. It
+can also appear in a @code{\score} block. Tools like @code{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.
-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, etc.), a nested set of contexts is created that can process these
-atomic expressions, as in this example:
+@cindex @code{ly2dvi}
+The syntax is
@example
-\score @{ \notes @{ c4 @} @}
-@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.
+ \header @{ @var{key1} = @var{val1};
+ @var{key2} = @var{val2}; @dots{} @}
+@end example
-@cindex context
+It is customary to put the @code{\header} at the top of the file.
-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.
+@subsubsection Default output
-[type vs id]
+A @code{\midi} or @code{\paper} block at top-level sets the default
-If a context of the specified type and name can not be found, a new
-one is created. For example,
+paper block for all scores that lack an explicit paper block.
-@quotation
+@c . {Identifiers}
+@node Identifiers
+@subsection Identifiers
+@cindex Identifiers
-@lilypond[verbatim]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
+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,
-@end lilypond
-@end quotation
+@itemize @bullet
+@item Input
+@item c++-function
+@item Music
+@item Identifier
+@item Translator_def
+@item Duration
+@item Pitch
+@item Score
+@item Music_output_def
+@item Moment (rational number)
+@end itemize
-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.
+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.
-Almost all music expressions inherit their interpretation context
-from their parent. In other words, suppose that the syntax for a
-music expression is
+@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. This is
+not yet user accessible.
+@item Font_metric: object representing a font. (See @ref{Font metrics})
-@example
+@end itemize
- \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.
+@node Music expressions
+@subsection Music expressions
-Lastly, you may wonder, why this:
+@cindex music expressions
-@quotation
+Music in LilyPond is entered as a music expression. Notes, rests, lyric
+syllables are music expressions, and you can combine music expressions
+to form new ones, for example by enclosing a list of expressions in
+@code{\sequential @{ @}} or @code{< >}. In the following example, a
+compound expression is formed out of the quarter note @code{c} and a
+quarter note @code{d}:
@example
-\score @{
- \notes \relative c'' @{
- c4 d4 e4
- @}
-@}
+\sequential @{ c4 d4 @}
@end example
-@end quotation
+@cindex Sequential music
+@cindex @code{\sequential}
+@cindex sequential music
+@cindex @code{<}
+@cindex @code{>}
+@cindex Simultaneous music
+@cindex @code{\simultaneous}
-doesn't result in this:
+The two basic compound music expressions are simultaneous and
+sequential music.
-@lilypond[]
+@example
+ \sequential @code{@{} @var{musicexprlist} @code{@}}
+ \simultaneous @code{@{} @var{musicexprlist} @code{@}}
+@end example
+For both, there is a shorthand:
+@example
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+for sequential and
+@example
+ @code{<} @var{musicexprlist} @code{>}
+@end example
+for simultaneous music.
+In principle, the way in which you nest sequential and simultaneous to
+produce music is not relevant. In the following example, three chords
+are expressed in two different ways:
- \score {
- \notes \relative c'' {
- <c4> <d4> <e4>
- }
+@lilypond[fragment,verbatim,center]
+ \notes \context Voice {
+ <a c'> <b d' > <c' e'>
+ < { a b c' } { c' d' e' } >
}
-
@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
+Other compound music expressions include
@example
- @var{propname} @code{=} @var{value}
+ \repeat @var{expr}
+ \transpose @var{pitch} @var{expr}
+ \apply @var{func} @var{expr}
+ \context @var{type} = @var{id} @var{expr}
+ \times @var{fraction} @var{expr}
@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}.
-
-
-
-@c. {Lexer innards}
-@node Lexer innards
-@section Lexer innards
-@cindex Lexer innards
-@menu
-* Top level::
-* Identifiers::
-* Assignments::
-* Lexical details::
-* Lexical modes::
-* Ambiguities::
-@end menu
-
-@c. {Top level}
-@node Top level
-@subsection Top level
-@cindex Top level
-
-This section describes what you may enter at top level.
-
-
-@unnumberedsubsec Score definition
-@cindex score definition
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
+@c . {Manipulating music expressions}
+@node Manipulating music expressions
+@subsection Manipulating music expressions
+The @code{\apply} mechanism gives you access to the internal
+representation of music. You can write Scheme-functions that operate
+directly on it. The syntax is
@example
- \score @{ @var{musicexpr} @var{outputdefs} @}
+ \apply #@var{func} @var{music}
@end example
+This means that @var{func} is applied to @var{music}. The function
+@var{func} should return a music expression.
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
+This example replaces the text string of a script. It also shows a dump
+of the music it processes, which is useful if you want to know more
+about how music is stored.
+@lilypond[verbatim,singleline]
+#(define (testfunc x)
+ (if (equal? (ly-get-mus-property x 'text) "foo")
+ (ly-set-mus-property x 'text "bar"))
+ ;; recurse
+ (ly-set-mus-property x 'elements
+ (map testfunc (ly-get-mus-property x 'elements)))
+ (display x)
+ x
+)
+\score { \notes
+ \apply #testfunc { c4_"foo" }
+}
+@end lilypond
-@c. {Score}
-@subsubsection Score
-@cindex Score
+For more information on what is possible, see the automatically
+generated documentation.
-@c. {Paper}
-@subsubsection Paper
-@cindex Paper
-@c. {Midi}
-@subsubsection Midi
-@cindex Midi
+Directly accessing internal representations is dangerous: the
+implementation is subject to changes, so you should avoid this feature
+if possible.
-@c. {Header}
-@subsubsection Header
-@cindex Header
-@cindex @code{\header}
+A final example is a function that reverses a piece of music in time:
-The syntax is
+@lilypond[verbatim,singleline]
+#(define (reverse-music music)
+ (let* ((elements (ly-get-mus-property music 'elements))
+ (reversed (reverse elements))
+ (span-dir (ly-get-mus-property music 'span-direction)))
+ (ly-set-mus-property music 'elements reversed)
+ (if (dir? span-dir)
+ (ly-set-mus-property music 'span-direction (- span-dir)))
+ (map reverse-music reversed)
+ music))
-@example
- \header @{ @var{key1} = @var{val1};
-@cindex @code{ly2dvi}
- @var{key2} = @var{val2}; @dots{} @}
-@end example
+music = \notes { c'4 d'4( e'4 f'4 }
+\score { \context Voice {
+ \music
+ \apply #reverse-music \music
+ }
+}
+@end lilypond
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{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.
+@c . {Span requests}
+@menu
+* Span requests::
+@end menu
-@subsubsection Default output
+@node Span requests
+@subsubsection Span requests
+@cindex Span requests
-A @code{\midi} or @code{\paper} block at top-level sets the default
+Notational constructs that start and end on different notes can be
+entered using span requests. The syntax is as follows:
-paper block for all scores that lack an explicit paper block.
-@c. {Identifiers}
-@node Identifiers
-@subsection Identifiers
-@cindex Identifiers
+@example
+ \spanrequest @var{startstop} @var{type}
+@end example
-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
-@item Moment (rational number)
-@end itemize
+@cindex @code{\start}
+@cindex @code{\stop}
-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.
+This defines a spanning request. The @var{startstop} parameter is either
+-1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
+describes what should be started. Much of the syntactic sugar is a
+shorthand for @code{\spanrequest}, for example,
-@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. This is
-not yet user accessible.
-@item Font_metric: object representing a font. (See @ref{Font metrics})
+@lilypond[fragment,verbatim,center]
+ c'4-\spanrequest \start "slur"
+ c'4-\spanrequest \stop "slur"
+@end lilypond
-@end itemize
+Among the supported types are @code{crescendo}, @code{decrescendo},
+@code{beam}, @code{slur}. This is an internal command. Users are
+encouraged to use the shorthands which are defined in the initialization
+file @file{spanners.ly}.
-@c. {Assignments}
+@c . {Assignments}
@node Assignments
@subsection Assignments
@cindex Assignments
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
+being entirely alphabetical. 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
first item in a block.
@example
\paper @{
-foo = 1.0
-\paperIdent % wrong and invalid
+ foo = 1.0
+ \paperIdent % wrong and invalid
@}
\paper @{
-\paperIdent % correct
-foo = 1.0
-@}
+ \paperIdent % correct
+ foo = 1.0 @}
+@end example
+
+
+@c . {Lexical modes}
+@node Lexical modes
+@subsection Lexical modes
+@cindex Lexical modes
+@cindex input mode
+@cindex mode, input
+@cindex @code{\notes}
+@cindex @code{\chords}
+@cindex @code{\lyrics}
+
+To simplify entering notes, lyrics, and chords, LilyPond has three
+special input modes on top of the default mode: note, lyrics and chords
+mode. These input modes change the way that normal, unquoted words are
+interpreted: for example, the word @code{cis} may be interpreted as a
+C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
+respectively.
+
+A mode switch is entered as a compound music expressions
+@example
+@code{\notes} @var{musicexpr}
+@code{\chords} @var{musicexpr}
+@code{\lyrics} @var{musicexpr}.
@end example
+In each of these cases, 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. The modes are treated in
+more detail in the @ref{Note entry}, @ref{Lyrics} and
+@ref{Chords}.
+
+You may nest different input modes.
+
+@c . {Ambiguities}
+@node Ambiguities
+@subsection Ambiguities
+@cindex ambiguities
+@cindex grammar
+
+
+The grammar contains a number of ambiguities. We hope to resolve them at
+some 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
-@c. {Lexical details}
+@c . {Lexical details}
@node Lexical details
-@subsection Lexical details
-@cindex Lexical details
+@section Lexical details
+
+Even more boring details, now on lexical side of the input parser.
+
@menu
+* Comments::
+* Direct Scheme::
+* Keywords::
+* Integers::
+* Reals::
+* Strings::
+* Main input::
+* File inclusion::
+* Version information::
@end menu
-@c. {Comments}
-@subsubsection Comments
-@cindex Comments
-@cindex @code{%}
+@node Comments
+@subsection Comments
+@cindex comments
+@cindex block comment
+@cindex line comment
+
+@cindex @code{%}
A one line comment is introduced by a @code{%} character.
-Block comments are started by @code{%@{} and ended by `@code{%@}}'.
+Block comments are started by @code{%@{} and ended by @code{%@}}.
They cannot be nested.
-@c. {Direct Scheme}
-@subsubsection Direct Scheme
+@node Direct Scheme
+@subsection Direct Scheme
+
@cindex Scheme
@cindex GUILE
@cindex Scheme, in-line code
Scheme.
-@c. {Keywords}
-@subsubsection Keywords
+@node Keywords
+@subsection Keywords
@cindex Keywords
transpose type
@end example
-@c. {Integers}
-@subsubsection Integers
+@node Integers
+@subsection Integers
@cindex integers
@cindex @code{+}
operations cannot be done with integers, and integers cannot be mixed
with reals.
-@c. {Reals}
-@subsubsection Reals
+@node Reals
+@subsection Reals
@cindex real numbers
A real constant can be followed by one of the dimension keywords:
@code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
points, inches and centimeters, respectively. This converts the number
-to a real that is the internal representation of dimensions.
+a number that is the internal representation of that dimension.
-@c. {Strings}
-@subsubsection Strings
+@node Strings
+@subsection Strings
@cindex string
@cindex concatenate
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.
+@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.
-@c. {Main input}
-@subsubsection Main input
+@node Main input
+@subsection Main input
@cindex Main input
@cindex @code{\maininput}
The @code{\maininput} command is used in init files to signal that the
user file must be read. This command cannot be used in a user file.
-@c. {File inclusion}
-@subsubsection Main input
-@cindex Main input
-
-@subsubsection File inclusion
+@node File inclusion
+@subsection File inclusion
@cindex @code{\include}
@example
\include @var{filename}
unquoted string will not work here!) or a string identifier. The full
filename including the @file{.ly} extension must be given,
-@subsubsection Version information
+
+@node Version information
+@subsection Version information
@cindex @code{\version}
@example
\version @var{string} ;
-@c. {Pitch names}
-@subsubsection Pitch names
-@cindex Lexical modes
-@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.
-@cindex @code{\pitchnames}
-@cindex @code{\chordmodifiers}
-
-@example
- \pitchnames @var{scheme-alist}
- \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.
-
-@c. {Assignments}
-@subsubsection Assignments
-@cindex assignments
-@cindex @code{#}
-
-Identifier assignments may appear at top level. @ref{Assignments}
-
-
-
-@c. {Direct scheme}
-@subsubsection Direct scheme
-@cindex Direct scheme
-
-Scheme statements maybe issued to produce interesting side-effects.
-
-
-@c. {Lexical modes}
-@node Lexical modes
-@subsection Lexical modes
-@cindex Lexical modes
-
-@cindex Lexical modes
-@cindex modes
-
-To simplify entering notes, lyrics, and chords, 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 @asis
-@item Normal mode.
-@cindex normal mode
-
-At the start of parsing, 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
-See @ref{Note entry}.
-
-@item Lyrics mode
-See @ref{Lyrics entry}.
-
-@item Chord mode
-See @ref{Chord entry}.
-@end table
-
-@cindex input modes
-
-@cindex mode switch
-
-@cindex @code{\notes}
-@cindex @code{\chords}
-@cindex @code{\lyrics}
-
-Mode switching keywords form compound music expressions: @code{\notes}
-@var{musicexpr}, @code{\chords} @var{musicexpr},
-and @code{\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.
-
-@c. {Ambiguities}
-@node Ambiguities
-@subsection Ambiguities
-@cindex ambiguities
-@cindex grammar
-
-
-The grammar contains a number of ambiguities. We hope to resolve them at
-some 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
-
-
-
-
-
-@c. {Unsorted}
-@node Unsorted
-@section Unsorted
-
-[mucho todo]
-
-Translation?
-
-@cindex properties
-@unnumberedsubsec Translation property
-
-@cindex @code{\property}
-@example
- \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
-@unnumberedsubsec Translator switches
-
-@cindex @code{\translator}
-@example
- \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
-@unnumberedsubsec 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-interface)
- #'extra-offset = #'(5.0 . 7.5)
-<c8 e g> }
-@end lilypond
-
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(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.
-@c.{Local emacs vars}
+@c .{Local emacs vars}
@c Local variables:
@c mode: texinfo
@c minor-mode: font-lock
@c minor-mode: outline
@c outline-layout: (-1 : 0)
-@c outline-use-mode-specific-leader: "@c\."
+@c outline-use-mode-specific-leader: "@c \."
@c outline-primary-bullet: "{"
@c outline-stylish-prefixes: nil
@c outline-override-protect: t
projects / lilypond.git / blobdiff