@end ignore
+@macro refbugs
+@unnumberedsubsec Bugs
+@end macro
+
+
@c .{Reference Manual}
@node Reference Manual
@menu
* Overview::
* Note entry::
-* Music notation::
+* Staff notation::
* Polyphony::
-* Spanners::
+* Beaming::
+* Expressive marks::
* Ornaments::
* Repeats::
* Piano music::
* Page layout::
* Sound::
* Music entry::
-* Engravers::
+* Interpretation context::
* Syntactic details::
+* Lexical details::
@end menu
@c . {Overview}
@menu
-* Notes mode::
* Pitches::
* Defining pitch names::
* Durations::
* Notes::
-* Note head tweaks::
+* Easy Notation note heads ::
+* Tie::
* Rests::
* Skip::
+* Note mode::
@end menu
@c . {Pitches}
@lilypond[fragment, singleline]
c'2 c'4 ~ c'4
@end lilypond
+
+@refbugs
+
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.
+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.
+
+
@c . {Tuplets}
+@menu
+* Tuplets::
+@end menu
+
@node Tuplets
@subsubsection Tuplets
@cindex Tuplets
@cindex Staff notation
@menu
-* Key::
-* Breath marks::
+* Key signature::
* Time signature::
+* Bar lines::
@end menu
@c . {Key}
[TODO: discuss options for layout]
-
@c . {Partial}
@subsubsection Partial
@cindex Partial
documentation.
+@cindex Bar_line_engraver
+@cindex whichBar
+@cindex repeatCommands
+@cindex defaultBarType
+
+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.
+
+@code{whichBar} can also be set directly, using @code{\property} or
+@code{\bar ; }. These settings take precedence over automatic @code{whichBar}
+settings.
+
+
@c . {Polyphony}
@node Polyphony
@section Polyphony
shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
set different shift values.
-@cindex @code{\stemBoth}
+@cindex @code{\stemBoth}
@item @code{\stemBoth}
- Allow stems, beams, and slurs to point either upwards or
+ Allow stems and beams to point either upwards or
downwards, decided automatically by LilyPond.
@cindex @code{\stemDown}
@item @code{\stemDown}
- Force stems, beams, and slurs to point down.
+ Force stems and beams to point down.
@cindex @code{\stemUp}
@item @code{\stemUp}
- Force stems, beams and slurs to point up.
+ Force stems and beams to point up.
@end table
+@cindex @code{\slurBoth}
+@cindex @code{\slurDown}
+@cindex @code{\slurUp}
+Similarly, for slurs use
+@code{\slurBoth},
+@code{\slurDown},
+@code{\slurUp}.
+@cindex @code{\slurBoth}
+@cindex @code{\slurDown}
+@cindex @code{\slurUp}
+Aand for ties use
+@code{\tieBoth},
+@code{\tieDown},
+@code{\tieUp}.
+
@node Beaming
@section Beaming
@section Expressive marks
@c . {Slur}
+@menu
+* Slur ::
+* Phrasing slur::
+* Breath marks::
+@end menu
+
@node Slur
@subsection Slur
@cindex slur
-A slur indicates that notes are to be played bound or @em{legato}. In
+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
@code{Voice.Slur}'s grob-property @code{attachment}:
[TODO: remove this section]
+Maybe reinclude other slur features and move back to tricks? Esp. the
+second example, how to fix, can be very helpful.
@quotation
@lilypond[fragment,relative,verbatim]
@end lilypond
@end quotation
+
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
[dit voorbeeld is te lang: junken, of inkorten]
@quotation
-@lilypond[verbatim]
+@lilypond[verbatim,singleline]
\score {
\notes \context PianoStaff <
\time 6/4;
>
>
\paper {
- linewidth = -1.;
\translator {
\VoiceContext
Slur \override #'beautiful = #5.0
@cindex phrasing mark
A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is entered using @code{\(} and @code{\)}.
+indicate a musical sentence. It is entered using @code{\(} and
+@code{\)}.
+
@lilypond[fragment,verbatim,center,relative]
\time 6/4; c''\((d)e f(e)\)d
@end lilypond
not. The grob for this object is called @code{Voice.BreathingSign}.
+@refbugs
+
+ Currently, only tick marks are supported, comma style breath marks are
+not.
+
+
+@c . {Tempo}
+@node Tempo
+@subsection Tempo
+@cindex Tempo
+@cindex beats per minute
+@cindex metronome marking
+
+@cindex @code{\tempo}
+@example
+ \tempo @var{duration} = @var{perminute} @code{;}
+@end example
+
+Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
+output with 76 quarter notes per minute.
+
+@refbugs
+
+The tempo setting is not printed, but is currently only used in the MIDI
+output.
+
+
+
@c . {Text spanner}
+@menu
+* Text spanner::
+@end menu
+
@node Text spanner
@subsubsection Text spanner
@cindex Text spanner
string to be printed, as well as the style is set through grob
properties.
-An application ---or rather, a hack---is to fake octavation indications.
+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
* Articulation::
* Text scripts::
* Grace notes::
-* Bar check::
@end menu
@c . {Articulation}
}
}
@end lilypond
-All of these note ornaments appear in the printed output but have no
-effect on the MIDI rendering of the music.
To save typing work, some shorthands are available:
@lilypond[singleline]
c'4-1 c'4-2 c'4-3 c'4-4
@end lilypond
-Unfortunately, there is no support adding fingering instructions to
-individual note heads. Some hacks exist, though. See
-@file{input/test/script-horizontal.ly}.
-
@cindex @code{\script}
@cindex scripts
For information on how to add scripts, consult @file{scm/script.scm}.
+@refbugs
+
+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
@example
foo = \textscript #'(finger "6")
- @ldots{}
+ [..]
c4-\foo
@end example
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::
-* Crescendo and Decrescendo::
-* Bar lines::
@end menu
@end lilypond
@end quotation
+@refbugs
+
Printing of an additional text (such as @emph{gliss.}) must be done
manually.
@end lilypond
@end quotation
+@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 checks}),
+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.
@end lilypond
-[explain precendence: \bar, repeatCommands, whichBar, defaultBarType]
-
@node Tremolo repeats
@subsection Tremolo repeats
@cindex tremolo beams
}
@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.
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.
@subsection Pedals
@cindex Pedals
-Piano pedals can be entered using the span requests (See @ref{Span
-requests}) of the types @code{Sustain}, @code{UnaChorda} and
-@code{Sostenuto}:
+Piano pedal instruction can be expressed using
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
+@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+
+These identifiers are short hands for spanner commands of the types
+@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
@lilypond[fragment,verbatim]
-c''4 \spanrequest \start "Sustain" c4 c4 \spanrequest \stop "Sustain"
+c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
@end lilypond
-For these verbose expressions, standard shorthands have been defined:
-@code{sustainDown}, @code{sustainUp}, @code{unaChorda},
-@code{treChorde}, @code{sostenutoDown} and @code{sostenutoUp}. The
-symbols that are printed can be modified by setting
+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).
@end lilypond
@end quotation
-This command creates @code{Arpeggio} grobs. It is not possible to mix
+This command creates @code{Arpeggio} grobs.
+
+@refbugs
+
+ It is not possible to mix
connected arpeggios and unconnected arpeggios at the same time.
@c . {Follow Thread}
@node Follow Thread
@subsection Follow Thread
+
@cindex follow thread
@cindex staff switching
@cindex cross staff
-[todo: different name, eg. voice line ? ]
+[todo: figure out different name, eg. voice line, switch indicator ? ]
@cindex @code{followThread}
@subsection Lyrics mode
@cindex Lyrics mode
-@cindex lyric mode
-@cindex @code{\lyrics}
+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.
-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{}.
-@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
+@cindex lyric mode
+@cindex @code{\lyrics}
-Since combinations of numbers and dots are used for indicating
-durations, you can not enter real numbers in this mode.
+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.
-@cindex lyrics expressions
+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-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
-@ref{Lexical modes} for a description of what is interpreted as
-lyrics.
+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. Printing
-lyrics is discussed in the next section.
-
+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.
-Lyric syllables must be interpreted within a @code{Lyrics} context for
-printing them. Here is a full example:
-
-@quotation
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
+@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 {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
- }
- >
-}
-
+ Join us now and
+ share the so -- ftware; }
@end lilypond
-@end quotation
-
-
-
@cindex extender
@cindex lyric extender
+@cindex melisma
-You may want a continuous line after the syllables to show melismata.
-To achieve this effect, add a @code{__} lyric as a separate word
-after the lyric to be extended. This will create an extender, a line
-that extends over the entire duration of the lyric. This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using @code{_}).
-
-@quotation
-
-@lilypond[verbatim]
-\score {
- <
- \notes \relative c'' {
- a4 () b () c () d | c () d () b () a | c () d () b () a
- }
- \context Lyrics \lyrics {
- foo1 __ | bar2. __ _4 | baz1 __
- }
- >
-}
-
-@end lilypond
-@end quotation
+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 Lyric hyphen
+@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.
-For example:
-
-@quotation
-
-@lilypond[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va4 -- der Ja -- cob | Va -- der Ja -- cob |
- Slaapt gij nog?2 | Slaapt4 gij nog?2
- }
- >
-}
-
-@end lilypond
-@end quotation
+@cindex Lyric hyphen
-@c . {Automatic syllable durations}
@node Automatic syllable durations
@subsection Automatic syllable durations
@cindex Automatic syllable durations
-
@cindex automatic lyric durations
@cindex @code{\addlyrics}
context of @var{musicexpr1}, no lyrics will be put on slurred or tied
notes.
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
\context Lyrics \lyrics {
do4 re mi fa }
@end lilypond
-@end quotation
-You should use a single rhythm melody, and single rhythm lyrics (a
-constant duration is the obvious choice). If you do not, you will get
-undesired effects when using multiple stanzas:
+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:
-@quotation
@lilypond[verbatim,fragment]
\addlyrics
\transpose c'' {
\context Lyrics \lyrics
< { do4 re mi fa }
{ do8 re mi fa } >
-
@end lilypond
-@end quotation
It is valid (but probably not very useful) to use notes instead of
lyrics for @var{musicexpr2}.
@lilypond[singleline,verbatim]
\score {
\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4; g2 e4 a2 f4 g2. }
+ \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"
@section Chords
@cindex Chords
-[chords vs. simultaneous music]
+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::
-* Entering named chords::
* Printing named chords::
@end menu
@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).
+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).
-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.
-
-@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 @ref{Lexical modes}).
+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}].
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}.
@end lilypond
@cindex @code{/}
-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.
+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''' {
@end lilypond
-The most interesting application is printing chord names, which is
-explained in the next subsection.
-You should not combine @code{\relative} with named chords. [FIXME]
+
@c . {Printing named chords}
@node Printing named chords
@subsection Printing named chords
-
-
-
-
@cindex printing chord names
@cindex chord names
@cindex chords
@cindex @code{ChordNames}
-@cindex @code{ChordNameVoice}
-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.
+
+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.
@quotation
@lilypond[verbatim,singleline]
}
\score {
\notes<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \transpose c'' \scheme
>
}
@end lilypond
@end quotation
-You can make the chord changes stand out more by setting property
+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, but always display the
-chord name after a line break:
+names when there's a change in the chords scheme and at the start of the
+line.
-@c bug
@quotation
@lilypond[verbatim]
scheme = \chords {
\score {
\notes <
- \context ChordNames \scheme
+ \context ChordNames {
+ \property ChordNames.chordChanges = ##t
+ \scheme }
\context Staff \transpose c'' \scheme
- >
- \paper{
- linewidth = 40 * \staffspace;
- \translator {
- \ChordNamesContext
- chordChanges = ##t
- }
- }
-}
+ > }
@end lilypond
@end quotation
+LilyPond examines chords specified as lists of notes to determine a name
+to give the chord. LilyPond will not try to identify chord inversions or
+added base, which may result in strange chord names when chords are
+entered as a list of pitches:
-
-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:
+[base vs. bass ?]
@quotation
@lilypond[verbatim,center,singleline]
@end lilypond
@end quotation
-To specify chord inversions, append @code{/<notename>}. To specify an
-added bass note, append @code{/+<notename}:
-
-@quotation
-@lilypond[verbatim,center,singleline]
-scheme = \chords {
- d1 d/a d/+gis
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
-}
-@end lilypond
-@end quotation
-
-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}:
-
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
-
-scheme = \chords {
- c % Major triad
- cs:m % Minor triad
- df:m5- % Diminished triad
- c:5^3 % Root-fifth chord
- c:4^3 % Suspended fourth triad
- c:5+ % Augmented triad
- c:2^3 % "2" chord
- c:m5-.7- % Diminished seventh
- c:7+ % Major seventh
- c:7.4^3 % Dominant seventh suspended fourth
- c:5+.7 % Augmented dominant seventh
- c:m5-.7 % "Half" diminished seventh
- c:5-.7 % Dominant seventh flat fifth
- c:5-.7+ % Major seventh flat fifth
- c:m7+ % Minor-major seventh
- c:m7 % Minor seventh
- c:7 % Dominant seventh
- c:6 % Major sixth
- c:m6 % Minor sixth
- c:9^7 % Major triad w/added ninth
- c:6.9^7 % Six/Nine chord
- c:9 % Dominant ninth
- c:7+.9 % Major ninth
- c:m7.9 % Minor ninth
-}
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'american
- }
- }
-}
-@end lilypond
-@end quotation
+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.
-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
-}
+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}.
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'jazz
- }
- }
-}
-@end lilypond
-@end quotation
+[3 short examples showing differences between american, banter and jazz]
@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.
+
+
@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}
}
@end lilypond
+@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.
+
+@refbugs
+
+It is currently not possible to make boxed bar numbers, or print them at
+regular intervals.
+
+
@node Instrument names
@subsection Instrument names
@lilypond[verbatim,singleline]
\score { \notes {
- \property Staff.instrument = "instr " { c''4 } }
+ \property Staff.instrument = "ploink " { c''4 } }
\paper {
\translator { \StaffContext
\consists "Instrument_name_engraver"; } } }
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
-@code{transposing}.
+semitones) for the transposed instruments. This is done using the
+@code{transposing} property. It does not affect printed output.
@cindex @code{transposing}
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 will be shown. In places where the two parts differ, stem
+time, only one is shown. In places where the two parts differ, stem
directions are set automatically. Also, soli and @`{a} due parts can be
identified and marke.
-
-@subsubsection Part combine syntax
-
The syntax for part combining is
@example
combined into one context @var{context}. The names of the music
expressions must start with the prefixes @code{one} and @code{two}.
-@subsubsection Part combine usage
-
-@cindex @code{Thread_devnull_engraver}
-@cindex @code{Voice_engraver}
-@cindex @code{A2_engraver}
+[Name of music expressions? is that context name? ]
The most useful function of the part combiner to combining threads into
one voice, as common for wind parts in orchestral scores:
\context Staff <
\context Voice=one \partcombine Voice
\context Thread=one \notes\relative c'' {
- g a b r
+ g g a b r2
}
\context Thread=two \notes\relative c'' {
- g r2 f4
+ g g r2 g4 f4
}
>
@end lilypond
-If you have developed a bit of a feel for LilyPond's functioning, you
-will notice that what you see above is quite unusual. The first
-@code{g} appears only once, although it was specified twice (once in
-each Thread). That is the work of the
-@code{Thread_devnull_engraver}@footnote{On unix systems, the file
-@file{/dev/null} is special device: anything written to it is
-discarded.}, that works closely together with the part combiner. When
-the part combiner notices that two threads are identical, it tells the
-@code{Thread_devnull_engraver} to discard everything in the second
-thread.
-
-Similarly, the markings @emph{@`{a}2}, @emph{Solo} and @emph{Solo II},
-are created by the @code{A2_engraver}. The @code{A2_engraver} also acts
-upon instructions of the part combiner. Another thing that the
-@code{A2_engraver} does, is forcing of stem, slur and tie directions,
-always when both threads are not identical; up for the musicexpr called
-@code{one}, down for the musicexpr called @code{two}.
+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.
There is actually a third engraver involved in part combining; the
@code{Voice_devnull_engraver}. This one takes care of removing
-redundant spanners such as beams, slurs, ties, crescendi, etc.
+redundant spanners such as beams, slurs, ties, crescendi, etc. Note that
+the Thread called 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:
+not the textual markings, you may set the property @var{soloADue} to
+false. 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_engraver} and @code{A2_engraver}.
+
+@cindex @code{Thread_devnull_engraver}
+@cindex @code{Voice_engraver}
+@cindex @code{A2_engraver}
+
+@node Hara-kiri staffs
+@subsection Hara-kiri staffs
-@lilypond[verbatim,singleline]
- \score {
- \notes \context Staff <
- \context Voice=one \partcombine Voice
- \context Thread=one\relative c'' {
- b4 a c g
- }
- \context Thread=two\relative c'' {
- d,2 a4 g'
- }
- >
- \paper{
- \translator {
- \VoiceContext
- soloADue = ##f
- }
- }
-}
-@end lilypond
-There are a number of other properties that you can use to tweak the
-behavior of part combining, refer to the automatically generated
-documentation of the involved engravers and the examples in the tutorial.
+[TODO]@footnote{Harakiri, also called Seppuku, is the ritual suicide of
+the Japanese Samourai warriors.}
+
@c . {Custodes}
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 editio vaticana dating back to the beginning of the 20th
-century.
+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
are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
@code{mensural}.
-@quotation
+@example
\paper @{
\translator @{
\StaffContext
Custos \override #'style = #'mensural;
@}
@}
-@end quotation
+@end example
The property can also be set locally, for example in a @code{\notes}
block:
-@quotation
+@example
\notes @{
\property Staff.Custos \override #'style = #'vaticana
c'1 d' e' d' \break c' d' e' d'
@}
-@end quotation
+@end example
@c . {Tuning output}
@node Tuning output
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.
+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.
-Here we discuss how you can do that.
-Notational output is specified in so called grobs (graphic
-objects). Each grob carries with it a set of properties (grob
-properties) specific to that grob. For example, a stem grob has grob
-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
you wish, or secondly, you can (temporarily) modify the definition of a
grob, thereby affecting an entire group of grobs.
+[Todo: onduidelijk]
+
@menu
* Tuning groups of grobs ::
* Tuning per grob ::
@cindex grob description
-A grob definition is an association list, that is stored in a context
+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.
+you can change the resulting grobs.
+
@lilypond[verbatim, fragment]
c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
@end lilypond
+
The @code{\property} statement 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.
@cindex \revert
@cindex \set
-
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.
+
@lilypond[verbatim]
c'4 \property Voice.Stem \override #'thickness = #4.0
c'4 \property Voice.Stem \revert #'thickness
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 in the
-@code{autoBeamSettings} property.
+operations. This pushing and popping is also used for overriding automatic
+beaming settings.
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
including crashes. In other words, if you use @code{\override} and
@code{\revert}, be sure to balance the overrides and reverts.
-If balancing them is too much work, use the following shorthand:
-@code{\set} performs a revert followed by an override:
+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
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
and @var{grobname} are strings and @var{value} is a Scheme expression.
+@refbugs
+
LilyPond will hang or crash if @var{value} contains cyclic references.
@example
\outputproperty @var{predicate} @var{symbol} = @var{value}
@end example
-Here @code{predicate} is a Scheme functoin taking a grob a argument
-argument, and returning a boolean. This statement is processed by the
+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}.
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-elt-property grob 'text))))
+ (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
\score {
\notes\relative c''' {
some examples.).
Grob properties are tied directly to the implementation of LilyPond, and
-they are thus a moving target. Refer to the automatically generated
-documentation of the internals (available from the website).
-
-You need the following information
+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.
+To decide how to tune a grob, you need to find the following information
@itemize @bullet
@item
which grob to modify
form text markup expressions by composing scheme expressions
in the following way.
-@lilypond[verbatim]
-\score {
- \notes \relative c' {
- b-#"italic"
- c-#'(upright "upright")
- c-#'((bold upright) "bold")
- d-#'(lines "one" ((bold upright) "two"))
- e-#'(music (named "noteheads-2" "flags-u3"))
+
+[BUG]
+
+@lilypond[verbatim, singleline]
+ \relative c' {
+ b_#"italic"
+ c^#'(upright "upright")
+ c_#'((bold upright) "bold")
+ d^#'(lines "one" ((bold upright) "two"))
+ e_#'(music (named "noteheads-2" "flags-u3"))
}
- \paper { linewidth = 10.\cm; }
-}
@end lilypond
Normally, the Scheme markup text is stored in the @code{text} property
@end example
The markup is broken down and converted into a list of grob properties,
-which are prepended to the grop's property list. The
-@var{key}-@var{value} pair is a grob property.
+which are prepended to the property list. The @var{key}-@var{value}
+pair is a grob property.
The following abbreviations are currently
defined:
@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
script large Large dynamic}
+[wat is het verschil tussen fontstyle en abbrev?]
+
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
\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}
@item @code{staffspace}
The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{stafflinethickness}
+ 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{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 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})
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 a barline by entering @code{\bar "";}.
+barline, you can force an invisible barline by entering @code{\bar "";}.
Similarly, @code{\noBreak} forbids a line break at a certain point.
\penalty @var{int} @code{;}
@end example
-This imposes encourages or discourages LilyPond to make a line break
-at this point.
+This encourages or discourages LilyPond to make a line break at this
+point.
+
+@refbugs
-@strong{Warning} do not use @code{\penalty} directly. It is rather
-kludgy, and slated for rewriting.
+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
@cindex breaking pages
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control. 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}
-
-[or -> Tricks? ]
-
+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}
@section Sound
@cindex Sound
-LilyPond allows MIDI output, with the purpose of proof-hearing the music
-you enter. The performance lacks lots of interesting effects, such as
-swing, articulation, slurring, tieing, etc.
+LilyPond can produce MIDI output. The performance lacks lots of
+interesting effects, such as swing, articulation, slurring, tieing,
+etc., but it is good enough for proof-hearing the music you enter.
+
+Dynamics and tempo changes are interpreted. [TODO: mention volume
+control/Instrument Equaliser]
-Also note that it is not possible to use the percussion channel
-(generally channel 10 of a MIDI file).
+
+@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}
\paper block. Translation modules for sound are called performers.
The contexts for MIDI output are defined in @file{ly/performer.ly}.
-[Volume control]
-[Instrument Equaliser]
-
-FIXME: would it be useful to refer to files like scm/midi.scm,
-or to give examples of how to tweak MIDI output volume?
-
-@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.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
-
-[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
-
+property. The instrument name should be chosen from the list in
+@ref{MIDI Instrument}.
+@refbugs
+If the selected string does not exactly match, then LilyPond uses the
+default piano. It is not possible to select an instrument by number.
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
-@cindex @code{\tempo}
-@example
- \tempo @var{duration} = @var{perminute} @code{;}
-@end example
-Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
-output with 76 quarter notes per minute.
@cindex Music entry
@menu
* Relative::
+* Bar check::
* Point and click::
@end menu
be a surrounding @code{\notes} keyword (which is not
shown here).
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument. If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
+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}
[todo]
-@c . {Engravers}
-@node Engravers
-@section Engravers
-@cindex engravers
+@node Interpretation context
+@section Interpretation context
+
@menu
* Notation Contexts::
* Creating contexts::
* Defining new contexts::
@end menu
-@c . {Music expressions}
-
-
@c . {Notation Contexts}
@node Notation Contexts
@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
+
+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.
+
+
+@refbugs
+
+@code{\property \unset} is not the inverse of @code{\property \set}
+
@cindex @code{HaraKiriStaffContext}
@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.}
+ Staff context that does not print if it only contains rests. See
+@ref{Hara-kiri staffs}.
@end table
@node Defining new contexts
* Music expressions::
* Manipulating music expressions::
* Assignments::
-* Lexical details::
* Lexical modes::
* Ambiguities::
@end menu
@code{<} @var{musicexprlist} @code{>}
@end example
for simultaneous music.
-Other compound music expressions include
-@example
- \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
-
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:
}
@end lilypond
-However, in some cases, LilyPond will also try to choose contexts, and
-use the structure of the music expression to do so. This can have
-undesired effects: for example, LilyPond will create a separate staff
-for each note if you start a @code{\score} with a chord:
-@lilypond[verbatim,center,singleline]
- \score {
- \notes <c''4 e''>
- }
-@end lilypond
- The solution is to explicitly instantiate the context you desire.
-In this case this is typically a Voice context
-@lilypond[verbatim,center,singleline]
- \score {
- \notes\context Voice <c''4 e''>
- }
-@end lilypond
-If you use @code{\context Staff} you will get separate stems for each
-note head, leading to collisions, so don't use that.
+Other compound music expressions include
+@example
+ \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
@c . {Manipulating music expressions}
For more information on what is possible, see the @ref{Tricks} and the
automatically generated documentation.
-As always: directly accessing internal representations is dangerous: the
-implementation is subject to changes, so you should not use this if
-possible.
+Directly accessing internal representations is dangerous: the
+implementation is subject to changes, so you should avoid this feature
+if possible.
+
+
@c . {Span requests}
+@menu
+* Span requests::
+@end menu
+
@node Span requests
@subsubsection Span requests
@cindex Span requests
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}
@node Lexical details
-@subsection Lexical details
-@cindex Lexical details
+@section Lexical details
+
@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{%@}}.
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
to a real that is the internal representation of dimensions.
-@c . {Strings}
-@subsubsection Strings
+@node Strings
+@subsection Strings
@cindex string
@cindex concatenate
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} ;
@cindex convert-ly
-@c . {Pitch names}
-@subsubsection Defining pitch names
-@cindex Lexical modes
-@cindex definining pitch names
-@cindex pitch names, definining
-@cindex note names
-@cindex chord modifier names
-
-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 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
-
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