1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. For details, see the Contributors'
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13 @node General input and output
14 @chapter General input and output
16 This section deals with general LilyPond input and output issues,
17 rather than specific notation.
21 * Titles and headers::
22 * Working with input files::
23 * Controlling output::
25 * Extracting musical information::
30 @section Input structure
32 The main format of input for LilyPond are text files. By convention,
33 these files end with @file{.ly}.
36 * Structure of a score::
37 * Multiple scores in a book::
38 * Multiple output files from one input file::
44 @node Structure of a score
45 @subsection Structure of a score
49 A @code{\score} block must contain a single music expression
50 delimited by curly brackets:
58 @warning{There must be @strong{only one} outer music expression in
59 a @code{\score} block, and it @strong{must} be surrounded by
62 This single music expression may be of any size, and may contain
63 other music expressions to any complexity. All of these examples
64 are music expressions:
70 @lilypond[verbatim,quote]
77 @lilypond[verbatim,quote]
79 \new Staff { c'4 c' c' c' }
80 \new Staff { d'4 d' d' d' }
88 \new Staff @{ \flute @}
89 \new Staff @{ \oboe @}
92 \new Staff @{ \violinI @}
93 \new Staff @{ \violinII @}
99 Comments are one exception to this general rule. (For others see
100 @ref{File structure}.) Both single-line comments and comments
101 delimited by @code{%@{ .. %@}} may be placed anywhere within an
102 input file. They may be placed inside or outside a @code{\score}
103 block, and inside or outside the single music expression within a
106 Remember that even in a file containing only a @code{\score} block, it
107 is implicitly enclosed in a \book block. A \book block in a source
108 file produces at least one output file, and by default the name of the
109 output file produced is derived from the name of the input file, so
110 @file{fandangoforelephants.ly} will produce
111 @file{fandangoforelephants.pdf}.
113 (For more details about @code{\book} blocks, see
114 @ref{Multiple scores in a book},
115 @ref{Multiple output files from one input file} @ref{File structure}.)
119 @rlearning{Working on input files},
120 @rlearning{Music expressions explained},
121 @rlearning{Score is a (single) compound musical expression}.
124 @node Multiple scores in a book
125 @subsection Multiple scores in a book
128 @cindex movements, multiple
130 A document may contain multiple pieces of music and text. Examples
131 of these are an etude book, or an orchestral part with multiple
132 movements. Each movement is entered with a @code{\score} block,
140 and texts are entered with a @code{\markup} block,
150 All the movements and texts which appear in the same @file{.ly} file
151 will normally be typeset in the form of a single output file.
165 One important exception is within lilypond-book documents,
166 where you explicitly have to add a @code{\book} block, otherwise only
167 the first @code{\score} or @code{\markup} will appear in the output.
169 The header for each piece of music can be put inside the @code{\score}
170 block. The @code{piece} name from the header will be printed before
171 each movement. The title for the entire book can be put inside the
172 @code{\book}, but if it is not present, the @code{\header} which is at
173 the top of the file is inserted.
177 title = "Eight miniatures"
178 composer = "Igor Stravinsky"
182 \header @{ piece = "Romanze" @}
185 ..text of second verse..
188 ..text of third verse..
192 \header @{ piece = "Menuetto" @}
198 Pieces of music may be grouped into book parts using @code{\bookpart}
199 blocks. Book parts are separated by a page break, and can start with a
200 title, like the book itself, by specifying a @code{\header} block.
206 subtitle = "First part"
213 subtitle = "Second part"
220 @node Multiple output files from one input file
221 @subsection Multiple output files from one input file
223 If you want multiple output files from the same @file{.ly} file,
224 then you can add multiple @code{\book} blocks, where each
225 such \book block will result in a separate output file.
226 If you do not specify any @code{\book} block in the
227 input file, LilyPond will implicitly treat the whole
228 file as a single \book block, see
229 @ref{File structure}.
231 When producing multiple files from a single source file, Lilypond
232 ensures that none of the output files from any @code{\book} block
233 overwrites the output file produced by a preceding @code{\book} from
236 It does this by adding a suffix to the output name for each
237 @code{\book} which uses the default output file name derived from the
240 The default behaviour is to append a version-number suffix for each
241 name which may clash, so
246 \layout @{ @dots{} @}
250 \layout @{ @dots{} @}
254 \layout @{ @dots{} @}
258 in source file @file{eightminiatures.ly}
263 @file{eightminiatures.pdf},
265 @file{eightminiatures-1.pdf} and
267 @file{eightminiatures-2.pdf}.
270 @node Output file names
271 @subsection Output file names
273 @funindex \bookOutputSuffix
274 @funindex \bookOutputName
276 Lilypond provides facilities to allow you to control what file names
277 are used by the various back-ends when producing output files.
279 In the previous section, we saw how Lilypond prevents name-clashes when
280 producing several ouputs from a single source file. You also have the
281 ability to specify your own suffixes for each @code{\book} block, so
282 for example you can produce files called
283 @file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
284 and @file{eightminiatures-Nocturne.pdf} by adding a
285 @code{\bookOutputSuffix} declaration inside each @code{\book} block.
289 \bookOutputSuffix "Romanze"
291 \layout @{ @dots{} @}
294 \bookOutputSuffix "Menuetto"
296 \layout @{ @dots{} @}
299 \bookOutputSuffix "Nocturne"
301 \layout @{ @dots{} @}
305 You can also specify a different output filename for @code{book} block,
306 by using @code{\bookOutputName} declarations
310 \bookOutputName "Romanze"
312 \layout @{ @dots{} @}
315 \bookOutputName "Menuetto"
317 \layout @{ @dots{} @}
320 \bookOutputName "Nocturne"
322 \layout @{ @dots{} @}
326 The file above will produce these output files:
332 @file{Menuetto.pdf} and
339 @subsection File structure
349 A @file{.ly} file may contain any number of toplevel expressions, where a
350 toplevel expression is one of the following:
354 An output definition, such as @code{\paper}, @code{\midi}, and
355 @code{\layout}. Such a definition at the toplevel changes the default
356 book-wide settings. If more than one such definition of
357 the same type is entered at the top level any definitions in the later
358 expressions have precedence.
361 A direct scheme expression, such as
362 @code{#(set-default-paper-size "a7" 'landscape)} or
363 @code{#(ly:set-option 'point-and-click #f)}.
366 A @code{\header} block. This sets the global header block. This
367 is the block containing the definitions for book-wide settings, like
368 composer, title, etc.
371 A @code{\score} block. This score will be collected with other
372 toplevel scores, and combined as a single @code{\book}.
373 This behavior can be changed by setting the variable
374 @code{toplevel-score-handler} at toplevel. The default handler is
375 defined in the init file @file{../scm/lily.scm}.
378 A @code{\book} block logically combines multiple movements
379 (i.e., multiple @code{\score} blocks) in one document. If there
380 are a number of @code{\score}s, one output file will be created
381 for each @code{\book} block, in which all corresponding movements
382 are concatenated. The only reason to explicitly specify
383 @code{\book} blocks in a @file{.ly} file is if you wish to create
384 multiple output files from a single input file. One exception is
385 within lilypond-book documents, where you explicitly have to add
386 a @code{\book} block if you want more than a single @code{\score}
387 or @code{\markup} in the same example. This behavior can be
388 changed by setting the variable @code{toplevel-book-handler} at
389 toplevel. The default handler is defined in the init file
390 @file{../scm/lily.scm}.
393 A @code{\bookpart} block. A book may be divided into several parts,
394 using @code{\bookpart} blocks, in order to ease the page breaking,
395 or to use different @code{\paper} settings in different parts.
398 A compound music expression, such as
403 This will add the piece in a @code{\score} and format it in a
404 single book together with all other toplevel @code{\score}s and music
405 expressions. In other words, a file containing only the above
406 music expression will be translated into
423 This behavior can be changed by setting the variable
424 @code{toplevel-music-handler} at toplevel. The default handler is
425 defined in the init file @file{../scm/lily.scm}.
428 A markup text, a verse for example
431 2. The first line verse two.
435 Markup texts are rendered above, between or below the scores or music
436 expressions, wherever they appear.
446 This can be used later on in the file by entering @code{\foo}. The
447 name of a variable should have alphabetic characters only; no
448 numbers, underscores or dashes.
452 The following example shows three things that may be entered at
457 % Don't justify the output
469 At any point in a file, any of the following lexical instructions can
473 @item @code{\version}
474 @item @code{\include}
475 @item @code{\sourcefilename}
476 @item @code{\sourcefileline}
478 A single-line comment, introduced by a leading @code{%} sign.
481 A multi-line comment delimited by @code{%@{ .. %@}}.
487 Whitespace between items in the input stream is generally ignored,
488 and may be freely omitted or extended to enhance readability.
489 However, whitespace should always be used in the following
490 circumstances to avoid errors:
493 @item Around every opening and closing curly bracket.
494 @item After every command or variable, i.e. every item that
495 begins with a @code{\} sign.
496 @item After every item that is to be interpreted as a Scheme
497 expression, i.e. every item that begins with a @code{#}@tie{}sign.
498 @item To separate all elements of a Scheme expression.
499 @item In @code{lyricmode} to separate all the terms in both
500 @code{\override} and @code{\set} commands. In particular, spaces
501 must be used around the dot and the equals sign in commands like
502 @code{\override Score . LyricText #'font-size = #5} and before and
503 after the entire command.
509 @rlearning{How LilyPond input files work}.
512 @node Titles and headers
513 @section Titles and headers
515 Almost all printed music includes a title and the composer's name;
516 some pieces include a lot more information.
519 * Creating titles headers and footers::
520 * Custom headers footers and titles::
521 * Creating footnotes::
522 * Reference to page numbers::
523 * Table of contents::
527 @node Creating titles headers and footers
528 @subsection Creating titles headers and footers
531 * Title blocks explained::
532 * Default layout of book and score title blocks::
533 * Default layout of headers and footers::
537 @node Title blocks explained
538 @unnumberedsubsubsec Title blocks explained
540 @c TODO: figure out how \bookpart titles work
542 There are two types of title blocks: the main title block that appears
543 above of the first @code{\score} of a book, and individual title
544 blocks that appear within each @code{\score} block. Text fields for
545 both types are entered using a @code{\header} block.
547 If the book only has a single score, the @code{\header} block may be
548 placed inside or outside of the @code{\score} block.
550 @warning{Remember when adding a @bs{}@code{header} block inside a
551 @bs{}@code{score} block, that the music expression must come before the
552 @bs{}@code{header} block.}
554 @lilypond[papersize=a5,quote,verbatim,noragged-right]
557 composer = "J. S. Bach."
561 \new Staff \relative g, {
564 \repeat unfold 2 { g16( d' b') a b d, b' d, } |
565 \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
573 \new Staff \relative b {
577 <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
578 d16( b g fis) g( e d c) b(c d e) fis( g a b) |
586 Text fields from the main title block of a book can be displayed in all
587 @code{\score} blocks, or manually suppressed:
589 @lilypond[papersize=a5,quote,verbatim,noragged-right]
592 print-all-headers = ##t
595 title = "DAS WOHLTEMPERIRTE CLAVIER"
597 % Do not display the tagline for this book
600 \markup { \vspace #1 }
604 \new Staff { \clef "bass" s1 }
607 title = "PRAELUDIUM I"
609 % Do not display the subtitle for this score
616 \new Staff { \clef "bass" s1 }
620 subsubtitle = "A 4 VOCI"
622 % Do not display the subtitle for this score
631 @ref{File structure},
632 @ref{Custom layout for title blocks}.
635 @node Default layout of book and score title blocks
636 @unnumberedsubsubsec Default layout of book and score title blocks
638 The layout and formatting of title blocks are controlled by two
639 @code{\paper} variables; @code{bookTitleMarkup} for the main
640 @code{\header} title block and @code{scoreTitleMarkup} for individual
641 @code{\header} blocks within a @code{\score}.
643 @lilypond[papersize=a6,quote,verbatim,noragged-right]
645 % The following fields are centered
646 dedication = "Dedication"
648 subtitle = "Subtitle"
649 subsubtitle = "Subsubtitle"
650 instrument = "Instrument"
652 % The following fields are left-aligned on the left side
656 % The following fields are right-aligned on the right side
657 composer = "Composer"
658 arranger = "Arranger"
664 % The following fields are placed at opposite ends of the same line
671 @c Is the bit about \null markups true? -mp
673 Text fields left unset in a @code{\header} block are replaced with
674 @code{\null} markups so that the space is not wasted.
676 The default settings for @code{scoreTitleMarkup} place the @code{piece}
677 and @code{opus} text fields at opposite ends of the same line.
681 Use the @code{breakbefore} variable inside a @code{\header} block
682 that is itself in a @code{\score} block, to make the top-level
683 @code{\header} block titles appear on the first page on their own, with
684 the music (defined in the @code{\score} block) starting on the next.
686 @lilypond[papersize=a8landscape,verbatim,noragged-right]
689 title = "This is my Title"
690 subtitle = "This is my Subtitle"
691 copyright = "This is the bottom of the first page"
694 \repeat unfold 4 { e'' e'' e'' e'' }
696 piece = "This is the Music"
705 @rlearning{How LilyPond input files work},
708 @ref{File structure}.
711 @file{ly/titling-init.ly}.
714 @node Default layout of headers and footers
715 @unnumberedsubsubsec Default layout of headers and footers
717 @emph{Headers} and @emph{footers} are lines of text appearing at
718 the top and bottom of pages, separate from the main text of a book.
719 They are controlled by the following @code{\paper} variables:
722 @item @code{oddHeaderMarkup}
723 @item @code{evenHeaderMarkup}
724 @item @code{oddFooterMarkup}
725 @item @code{evenFooterMarkup}
728 These markup variables can only access text fields from top-level
729 @code{\header} blocks (which apply to all scores in the book) and are
730 defined in @file{ly/titling-init.ly}. By default:
735 page numbers are automatically placed on the top far left (if even) or
736 top far right (if odd), starting from the second page.
739 the @code{instrument} text field is placed in the center of every
740 page, starting from the second page.
743 the @code{copyright} text is centered on the bottom of the first page.
746 the @code{tagline} is centered on the bottom of the last page, and below
747 the @code{copyright} text if there is only a single page.
751 @lilypond[papersize=a8landscape]
761 The default tagline can be changed by adding a @code{tagline} in the
762 top-level @code{\header} block.
764 @lilypond[papersize=a8landscape,verbatim]
767 tagline = "... music notation for Everyone"
777 To remove the @code{tagline} set the value to @code{##f}.
780 @node Custom headers footers and titles
781 @subsection Custom headers footers and titles
783 @c TODO: somewhere put a link to header spacing info
784 @c (you'll have to explain it more in NR 4).
787 * Custom text formatting for title blocks::
788 * Custom layout for title blocks::
789 * Custom layout for headers and footers::
793 @node Custom text formatting for title blocks
794 @unnumberedsubsubsec Custom text formatting for title blocks
796 Standard @code{\markup} commands can be used to customize any header,
797 footer and title text within the @code{\header} block.
799 @lilypond[quote,verbatim,noragged-right]
803 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
804 subtitle = \markup { \italic "(Excerpt)" }
811 @ref{Formatting text}.
814 @node Custom layout for title blocks
815 @unnumberedsubsubsec Custom layout for title blocks
817 @code{\markup} commands in the @code{\header} block are useful for
818 simple text formatting, but they do not allow precise control over the
819 placement of titles. To customize the placement of the text fields,
820 use either or both of the following @code{\paper} variables:
823 @item @code{bookTitleMarkup}
824 @item @code{scoreTitleMarkup}
827 These markup variables are discussed in
828 @ref{Default layout of book and score title blocks}.
830 The default settings for @code{scoreTitleMarkup} as defined in
831 @file{ly/titling-init.ly} are:
834 scoreTitleMarkup = \markup @{ \column @{
835 \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
837 \fromproperty #'header:piece
838 \fromproperty #'header:opus
844 This places the @code{piece} and @code{opus} text fields at opposite
845 ends of the same line:
847 @lilypond[quote,verbatim,noragged-right]
851 piece = "PRAELUDIUM I"
857 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
858 text field is centered and in a large, bold font.
860 @lilypond[papersize=a5,quote,verbatim,noragged-right]
864 scoreTitleMarkup = \markup {
867 \fontsize #4 \bold \fromproperty #'header:piece
868 \fromproperty #'header:opus
872 \header { tagline = ##f }
876 piece = "PRAELUDIUM I"
883 Text fields normally reserved for the main title block can be included
884 in individual score title blocks with the @code{print-all-headers}
885 placed inside the @code{\paper} block. A disadvantage of using this
886 method is that the text fields that are intended specifically for the
887 top-level @code{\header} block need to be manually suppressed in every
888 @code{\score} block. See @ref{Title blocks explained}.
890 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
891 definition. In the following example, the @code{composer} text field
892 (normally associated with @code{bookTitleMarkup}) is added to
893 @code{scoreTitleMarkup}, allowing each score to list a different
896 @lilypond[papersize=a5,quote,verbatim,noragged-right]
900 scoreTitleMarkup = \markup {
903 \fontsize #4 \bold \fromproperty #'header:piece
904 \fromproperty #'header:composer
908 \header { tagline = ##f }
913 composer = "Christian Petzold"
920 composer = "François Couperin"
926 It is also possible to create your own custom text fields, and refer to
927 them in the markup definition.
929 @lilypond[papersize=a5,quote,verbatim,noragged-right]
933 scoreTitleMarkup = \markup {
936 \override #`(direction . ,UP) {
938 \center-align \fontsize #-1 \bold
939 \fromproperty #'header:mycustomtext %% User-defined field
940 \center-align \fontsize #4 \bold
941 \fromproperty #'header:piece
944 \fromproperty #'header:opus
948 \header { tagline = ##f }
953 mycustomtext = "A 4 VOCI" %% User-defined field
962 @ref{Title blocks explained}.
965 @node Custom layout for headers and footers
966 @unnumberedsubsubsec Custom layout for headers and footers
968 @c can make-header and make-footer be removed from
969 @c paper-defaults-init.ly? -mp
971 @code{\markup} commands in the @code{\header} block are useful for
972 simple text formatting, but they do not allow precise control over the
973 placement of headers and footers. To customize the placement of
974 the text fields, use either or both of the following @code{\paper}
978 @item @code{oddHeaderMarkup}
979 @item @code{evenHeaderMarkup}
980 @item @code{oddFooterMarkup}
981 @item @code{evenFooterMarkup}
984 @cindex markup, conditional
986 @funindex \on-the-fly
988 The @code{\markup} command @code{\on-the-fly} can be used to add
989 markup conditionally to header and footer text defined within the
990 @code{\paper} block, using the following syntax:
993 @code{variable} = @code{\markup} @{
995 @code{\on-the-fly} #@var{procedure} @var{markup}
1000 The @var{procedure} is called each time the @code{\markup} command
1001 in which it appears is evaluated. The @var{procedure} should test
1002 for a particular condition and interpret (i.e. print) the
1003 @var{markup} argument if and only if the condition is true.
1005 A number of ready-made procedures for testing various conditions are
1009 @multitable {print-page-number-check-first-----} {should this page be printed-----}
1011 @headitem Procedure name @tab Condition tested
1013 @item print-page-number-check-first @tab should this page number be printed?
1014 @item create-page-number-stencil @tab 'print-page-numbers true?
1015 @item print-all-headers @tab 'print-all-headers true?
1016 @item first-page @tab first page in the book?
1017 @item (on-page nmbr) @tab page number = nmbr?
1018 @item last-page @tab last page in the book?
1019 @item not-first-page @tab not first page in the book?
1020 @item part-first-page @tab first page in the book part?
1021 @item part-last-page @tab last page in the book part?
1022 @item not-single-page @tab pages in book part > 1?
1027 The following example centers page numbers at the bottom of every
1028 page. First, the default settings for @code{oddHeaderMarkup} and
1029 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
1030 markup. Then, @code{oddFooterMarkup} is redefined with the page
1031 number centered. Finally, @code{evenFooterMarkup} is given the
1032 same layout by defining it as @code{\oddFooterMarkup}:
1034 @lilypond[papersize=a8,quote,verbatim,noragged-right]
1037 print-page-number = ##t
1038 print-first-page-number = ##t
1039 oddHeaderMarkup = \markup \null
1040 evenHeaderMarkup = \markup \null
1041 oddFooterMarkup = \markup {
1043 \on-the-fly #print-page-number-check-first
1044 \fromproperty #'page:page-number-string
1047 evenFooterMarkup = \oddFooterMarkup
1050 \new Staff { s1 \break s1 \break s1 }
1055 Several @code{\on-the-fly} conditions can be combined with an
1056 @q{and} operation, for example,
1059 @code{\on-the-fly #first-page}
1060 @code{\on-the-fly #last-page}
1061 @code{@{ \markup ... \fromproperty #'header: ... @}}
1064 determines if the output is a single page.
1068 @ref{Title blocks explained},
1069 @ref{Default layout of book and score title blocks}.
1072 @file{../ly/titling-init.ly}.
1075 @node Creating footnotes
1076 @subsection Creating footnotes
1078 There are two types of footnotes that can be created; automatic
1079 footnotes and manual footnotes.
1082 * Footnotes overview::
1083 * Automatic footnotes::
1084 * Manual footnotes::
1087 @node Footnotes overview
1088 @unnumberedsubsubsec Footnotes overview
1090 Automatic footnotes create incrementing numerical indicators and manual
1091 footnotes allow a custom indicator to be created instead. Footnotes are
1092 normally applied like @code{\tweak} and consequently can be placed
1093 directly on grobs (graphical objects) created by most music elements and
1094 post-events. In cases where this does not work (like with bar lines and
1095 meter changes, where the grobs are produced as a consequence of property
1096 changes), footnotes can also be specified as a standalone music event
1097 affecting all grobs of a given type at a particular time step.
1099 The full form of a footnote command is
1102 \footnote @var{mark} @var{offset} @var{grob-name} @var{footnote}
1106 The elements are as follows:
1110 is a markup or string specifying the footnote mark which is used for
1111 both marking the reference point as well as the footnote itself at the
1112 bottom of the page. It can be omitted (or equivalently replaced with
1113 @code{\default}) in which case a number in sequence will be generated.
1115 is a number pair such as @samp{#(2 . 1)} specifying the X and Y offset
1116 from the reference point where the mark will be placed.
1118 specifies a type of grob to mark (like @samp{#'Flag}). If it is given,
1119 the respective grob will be used as a reference point even in case that
1120 its @q{cause} is not the referenced @var{music} itself but a grob
1121 created from it. It can be omitted (or replaced with @code{\default}),
1122 and then only a directly created grob will be annotated.
1124 This markup or string specifies the footnote text to use at the bottom
1127 This is the item, a music event or chord constituent or post-event, that
1128 is being annotated. While it cannot be omitted, it @emph{can} be
1129 replaced by @code{\default} in which case the footnote is not attached
1130 to a music expression in particular, but rather to a moment of time. It
1131 is mandatory in this case to use the @var{grob-name} argument for
1132 selecting an affected grob type, like @samp{#'TimeSignature}.
1135 Like with @code{\tweak}, if your @code{\footnote} is applied to a
1136 post-event or articulation, it will itself have to be preceded with
1137 @code{-} to make the parser attach the result to the preceding note or
1140 @node Automatic footnotes
1141 @unnumberedsubsubsec Automatic footnotes
1143 Automatic footnotes take four arguments: the @samp{(x . y)} position of
1144 the indicator, the optional @var{grob-name} specifying the layout object
1145 to be annotated, the @var{footnote} markup itself that will appear at
1146 the bottom of the page, and of course the @var{music} to attach the
1149 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1151 \header { tagline = ##f }
1153 \footnote #'(0.5 . -2)
1154 \markup { The first note }
1156 \footnote #'(0.5 . 1) #'Flag
1157 \markup { The third note }
1163 Chorded notes pose no particular difficulty:
1165 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1167 \header { tagline = ##f }
1170 \footnote #'(1 . -1.25) "Here is a C" c
1171 \footnote #'(2 . -0.25) \markup { \italic "An E-flat" } es
1172 \footnote #'(2 . 3) \markup { \bold "This is a G" } g
1178 @warning {When footnotes have the same vertical position, the footnotes
1179 are printed in order of descendancy; the higher the footnote, the
1180 higher up in the list.}
1182 Here are some more examples of footnoted grobs, also showing the
1183 relative position of the footnotes to the tagline and copyright.
1185 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1187 \header { copyright = \markup { "Copyright 1970" } }
1189 a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f
1190 -\footnote #'(0 . 1.5) \markup { A slur } (
1191 b8)-\footnote #'(0 . -2) \markup { Beam } [ e]
1192 \footnote #'(1 . -1) #'Stem
1193 \markup { \teeny { This is a stem } }
1195 \footnote #'(0 . 0.5) #'AccidentalCautionary
1196 \markup \italic { A cautionary accidental }
1197 \footnote #'(1 . 1) "The note itself"
1198 dis?4-\footnote #'(0.5 . -0.5) \markup \italic { Slow Down }
1204 For top-level @code{\markup}, the @code{\auto-footnote} command is
1207 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1209 \header { tagline = ##f }
1210 \markup { \auto-footnote "A simple tune" \italic "By me" }
1218 @node Manual footnotes
1219 @unnumberedsubsubsec Manual footnotes
1221 @cindex footnotes, manual
1223 Manually marked footnotes take an additional first markup argument
1224 @var{mark} for making the reference mark. In contrast to automatically
1225 generated footnote marks, they will not appear before the @var{footnote}
1226 markup at the bottom of the page: establishing the visual connection is
1227 left to the user. LilyPond will only make sure that the corresponding
1228 markup appears on the bottom of the same page.
1230 Other than that, the use is identical to that of automatically numbered
1233 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1235 \header { tagline = ##f }
1239 \markup { \italic "1. The first note" }
1243 \markup { \bold "2" } #'(0.5 . 1)
1244 "2. The second note"
1247 d-\footnote "3" #'(0.5 . -1) "3. Piano" \p
1252 To annotate chorded notes with manual footnotes:
1254 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1256 \header { tagline = ##f }
1259 \footnote "1" #'(1 . -1.25) "1. C" c
1261 \markup { \bold "b" } #'(2 . -0.25) "b. E-flat" es
1262 \footnote "3" #'(2 . 3) \markup { \italic "iii. G" } g
1268 @warning {When footnotes have the same vertical position, the footnotes
1269 are printed in order of descendancy; the higher the footnote, the
1270 higher up in the list.}
1272 Here are some examples of manually footnoted grobs, also showing
1273 the relative position of the footnotes to the tagline and copyright
1275 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1277 \header { tagline = ##f }
1280 \markup { \teeny 1 } #'(-3 . 0)
1281 \markup { 1. \bold Forte } \f
1283 \markup { \teeny b } #'(0 . 1.5)
1284 \markup { b. A slur } (
1286 \markup { \teeny 3 } #'(0 . -2)
1287 \markup { 3. Beam } [
1290 \markup { 4 } #'(1 . -1) #'Stem
1291 \markup { \bold 4. { This is a stem } }
1294 \markup \concat \teeny { "sharp (v)" }
1295 #'(0 . 0.5) #'AccidentalCautionary
1296 \markup \italic { v. A cautionary accidental }
1298 \markup \concat \teeny { "a" } #'(0.5 . -0.5)
1299 \markup \italic { a. Slow Down } _"rit."
1301 \markup { \teeny \musicglyph #"rests.4" }
1303 \markup { \null } \breathe
1308 To manually footnote a top-level @code{\markup}:
1310 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1312 \header { tagline = ##f }
1313 \markup { "A simple tune" \footnote "*" \italic "* By me" }
1322 @rlearning{Objects and interfaces}.
1329 @ref{Titles and headers}.
1331 Internals Reference:
1332 @rinternals{FootnoteEvent},
1333 @rinternals{FootnoteItem},
1334 @rinternals{FootnoteSpanner},
1335 @rinternals{Footnote_engraver}.
1338 Multiple footnotes for the same page can only be stacked, one on top of
1339 the other, and cannot be printed on the same line. Footnotes cannot be
1340 attached to @code{MultiMeasureRests} and may collide with @code{Staff},
1341 @code{\markup} objects and other @code{footnote} annotations. When
1342 using any manual @code{footnote} command a @code{\paper} block
1343 containing @code{footnote-auto-number = ##f} is required.
1346 @node Reference to page numbers
1347 @subsection Reference to page numbers
1349 A particular place of a score can be marked using the @code{\label}
1350 command, either at top-level or inside music. This label can then be
1351 referred to in a markup, to get the number of the page where the marked
1352 point is placed, using the @code{\page-ref} markup command.
1355 \header { tagline = ##f }
1361 \pageBreak \mark A \label #'markA
1365 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1366 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1370 The @code{\page-ref} markup command takes three arguments:
1372 @item the label, a scheme symbol, eg. @code{#'firstScore};
1373 @item a markup that will be used as a gauge to estimate the dimensions
1375 @item a markup that will be used in place of the page number if the label
1379 The reason why a gauge is needed is that, at the time markups are
1380 interpreted, the page breaking has not yet occurred, so the page numbers
1381 are not yet known. To work around this issue, the actual markup
1382 interpretation is delayed to a later time; however, the dimensions of
1383 the markup have to be known before, so a gauge is used to decide these
1384 dimensions. If the book has between 10 and 99 pages, it may be "00",
1385 ie. a two digit number.
1396 @node Table of contents
1397 @subsection Table of contents
1398 A table of contents is included using the @code{\markuplist \table-of-contents}
1399 command. The elements which should appear in the table of contents are
1400 entered with the @code{\tocItem} command, which may be used either at
1401 top-level, or inside a music expression.
1404 \markuplist \table-of-contents
1407 \tocItem \markup "First score"
1411 \tocItem \markup "Some particular point in the first score"
1416 \tocItem \markup "Second score"
1424 The markups which are used to format the table of contents are defined
1425 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1426 for formatting the title of the table, and @code{tocItemMarkup}, for
1427 formatting the toc elements, composed of the element title and page
1428 number. These variables may be changed by the user:
1432 %% Translate the toc title into French:
1433 tocTitleMarkup = \markup \huge \column {
1434 \fill-line { \null "Table des matières" \null }
1437 %% use larger font size
1438 tocItemMarkup = \markup \large \fill-line {
1439 \fromproperty #'toc:text \fromproperty #'toc:page
1444 Note how the toc element text and page number are referred to in
1445 the @code{tocItemMarkup} definition.
1447 New commands and markups may also be defined to build more elaborated
1450 @item first, define a new markup variable in the @code{\paper} block
1451 @item then, define a music function which aims at adding a toc element
1452 using this markup paper variable.
1455 In the following example, a new style is defined for entering act names
1456 in the table of contents of an opera:
1460 tocActMarkup = \markup \large \column {
1462 \fill-line { \null \italic \fromproperty #'toc:text \null }
1468 #(define-music-function (parser location text) (markup?)
1469 (add-toc-item! 'tocActMarkup text))
1472 @lilypond[line-width=11.0\cm]
1473 \header { tagline = ##f }
1475 tocActMarkup = \markup \large \column {
1477 \fill-line { \null \italic \fromproperty #'toc:text \null }
1483 #(define-music-function (parser location text) (markup?)
1484 (add-toc-item! 'tocActMarkup text))
1487 \markuplist \table-of-contents
1488 \tocAct \markup { Atto Primo }
1489 \tocItem \markup { Coro. Viva il nostro Alcide }
1490 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1491 \tocAct \markup { Atto Secondo }
1492 \tocItem \markup { Sinfonia }
1493 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1498 Dots can be added to fill the line between an item and its page number:
1500 @lilypond[verbatim,quote]
1501 \header { tagline = ##f }
1503 tocItemMarkup = \tocItemWithDotsMarkup
1507 \markuplist \table-of-contents
1508 \tocItem \markup { Allegro }
1509 \tocItem \markup { Largo }
1516 @file{ly/toc-init.ly}.
1519 @funindex \table-of-contents
1520 @code{\table-of-contents},
1526 @node Working with input files
1527 @section Working with input files
1530 * Including LilyPond files::
1531 * Different editions from one source::
1532 * Special characters::
1536 @node Including LilyPond files
1537 @subsection Including LilyPond files
1540 @cindex including files
1542 A large project may be split up into separate files. To refer to
1546 \include "otherfile.ly"
1549 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1550 contents of @file{otherfile.ly} into the current file at the place
1551 where the @code{\include} appears. For example, in a large
1552 project you might write separate files for each instrument part
1553 and create a @qq{full score} file which brings together the
1554 individual instrument files. Normally the included file will
1555 define a number of variables which then become available
1556 for use in the full score file. Tagged sections can be
1557 marked in included files to assist in making them usable in
1558 different places in a score, see @ref{Different editions from
1561 Files in the current working directory may be referenced by
1562 specifying just the file name after the @code{\include} command.
1563 Files in other locations may be included by giving either a full
1564 path reference or a relative path reference (but use the UNIX
1565 forward slash, /, rather than the DOS/Windows back slash, \, as the
1566 directory separator.) For example, if @file{stuff.ly} is located
1567 one directory higher than the current working directory, use
1570 \include "../stuff.ly"
1574 or if the included orchestral parts files are all located in a
1575 subdirectory called @file{parts} within the current directory, use
1578 \include "parts/VI.ly"
1579 \include "parts/VII.ly"
1583 Files which are to be included can also contain @code{\include}
1584 statements of their own. By default, these second-level
1585 @code{\include} statements are not interpreted until they have
1586 been brought into the main file, so the file names they specify
1587 must all be relative to the directory containing the main file,
1588 not the directory containing the included file. However,
1589 this behavior can be changed by passing the option
1590 @option{-drelative-includes} option at the command line
1591 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1592 at the top of the main input file). With @code{relative-includes}
1593 set, the path for each @code{\include} command will be taken
1594 relative to the file containing that command. This behavior is
1595 recommended and it will become the default behavior in a future
1596 version of lilypond.
1598 Files can also be included from a directory in a search path
1599 specified as an option when invoking LilyPond from the command
1600 line. The included files are then specified using just their
1601 file name. For example, to compile @file{main.ly} which includes
1602 files located in a subdirectory called @file{parts} by this method,
1603 cd to the directory containing @file{main.ly} and enter
1606 lilypond --include=parts main.ly
1609 and in main.ly write
1617 Files which are to be included in many scores may be placed in
1618 the LilyPond directory @file{../ly}. (The location of this
1619 directory is installation-dependent - see
1620 @rlearning{Other sources of information}). These files can then
1621 be included simply by naming them on an @code{\include} statement.
1622 This is how the language-dependent files like @file{english.ly} are
1625 LilyPond includes a number of files by default when you start
1626 the program. These includes are not apparent to the user, but the
1627 files may be identified by running @code{lilypond --verbose} from
1628 the command line. This will display a list of paths and files that
1629 LilyPond uses, along with much other information. Alternatively,
1630 the more important of these files are discussed in
1631 @rlearning{Other sources of information}. These files may be
1632 edited, but changes to them will be lost on installing a new
1633 version of LilyPond.
1635 Some simple examples of using @code{\include} are shown in
1636 @rlearning{Scores and parts}.
1640 @rlearning{Other sources of information},
1641 @rlearning{Scores and parts}.
1644 If an included file is given a name which is the same as one in
1645 LilyPond's installation files, LilyPond's file from the
1646 installation files takes precedence.
1649 @node Different editions from one source
1650 @subsection Different editions from one source
1652 Several methods can be used to generate different versions of a score
1653 from the same music source. Variables are perhaps the most useful for
1654 combining lengthy sections of music and/or annotation. Tags are more
1655 useful for selecting one section from several alternative shorter
1656 sections of music, and can also be used for splicing pieces of music
1657 together at different points.
1659 Whichever method is used, separating the notation from the structure of
1660 the score will make it easier to change the structure while leaving the
1666 * Using global settings::
1669 @node Using variables
1670 @unnumberedsubsubsec Using variables
1672 @cindex variables, use of
1674 If sections of the music are defined in variables they can be
1675 reused in different parts of the score, see @rlearning{Organizing
1676 pieces with variables}. For example, an @notation{a cappella}
1677 vocal score frequently includes a piano reduction of the parts
1678 for rehearsal purposes which is identical to the vocal music, so
1679 the music need be entered only once. Music from two variables
1680 may be combined on one staff, see @ref{Automatic part combining}.
1683 @lilypond[verbatim,quote]
1684 sopranoMusic = \relative c'' { a4 b c b8( a) }
1685 altoMusic = \relative g' { e4 e e f }
1686 tenorMusic = \relative c' { c4 b e d8( c) }
1687 bassMusic = \relative c' { a4 gis a d, }
1688 allLyrics = \lyricmode {King of glo -- ry }
1690 \new Staff = "Soprano" \sopranoMusic
1691 \new Lyrics \allLyrics
1692 \new Staff = "Alto" \altoMusic
1693 \new Lyrics \allLyrics
1694 \new Staff = "Tenor" {
1698 \new Lyrics \allLyrics
1699 \new Staff = "Bass" {
1703 \new Lyrics \allLyrics
1706 \set Staff.printPartCombineTexts = ##f
1712 \set Staff.printPartCombineTexts = ##f
1722 Separate scores showing just the vocal parts or just the piano
1723 part can be produced by changing just the structural statements,
1724 leaving the musical notation unchanged.
1726 For lengthy scores, the variable definitions may be placed in
1727 separate files which are then included, see @ref{Including
1731 @unnumberedsubsubsec Using tags
1734 @funindex \keepWithTag
1735 @funindex \removeWithTag
1736 @funindex \pushToTag
1737 @funindex \appendToTag
1739 @cindex keep tagged music
1740 @cindex remove tagged music
1741 @cindex splice into tagged music
1743 The @code{\tag #'@var{partA}} command marks a music expression
1744 with the name @var{partA}.
1745 Expressions tagged in this way can be selected or filtered out by
1746 name later, using either @code{\keepWithTag #'@var{name}} or
1747 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1748 to tagged music is as follows:
1749 @multitable @columnfractions .5 .5
1753 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1754 @tab Untagged music and music tagged with @var{name} is included;
1755 music tagged with any other tag name is excluded.
1757 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1758 @tab Untagged music and music tagged with any tag name other than
1759 @var{name} is included; music tagged with @var{name} is
1762 Tagged music not preceded by either @code{\keepWithTag} or
1763 @code{\removeWithTag}
1764 @tab All tagged and untagged music is included.
1767 The arguments of the @code{\tag}, @code{\keepWithTag} and
1768 @code{\removeWithTag} commands should be a symbol
1769 (such as @code{#'score} or @code{#'part}), followed
1770 by a music expression.
1772 In the following example, we see two versions of a piece of music,
1773 one showing trills with the usual notation, and one with trills
1774 explicitly expanded:
1776 @lilypond[verbatim,quote]
1777 music = \relative g' {
1779 \tag #'trills { d8.\trill }
1780 \tag #'expand { \repeat unfold 3 { e32 d } }
1785 \keepWithTag #'trills \music
1788 \keepWithTag #'expand \music
1793 Alternatively, it is sometimes easier to exclude sections of music:
1795 @lilypond[verbatim,quote]
1796 music = \relative g' {
1798 \tag #'trills { d8.\trill }
1799 \tag #'expand {\repeat unfold 3 { e32 d } }
1804 \removeWithTag #'expand
1808 \removeWithTag #'trills
1813 Tagged filtering can be applied to articulations, texts, etc. by
1817 -\tag #'@var{your-tag}
1820 to an articulation. For example, this would define a note with a
1821 conditional fingering indication and a note with a conditional
1826 c1-\tag #'warn ^"Watch!"
1829 Multiple tags may be placed on expressions with multiple
1830 @code{\tag} entries:
1832 @lilypond[quote,verbatim]
1833 music = \relative c'' {
1834 \tag #'a \tag #'both { a4 a a a }
1835 \tag #'b \tag #'both { b4 b b b }
1838 \keepWithTag #'a \music
1839 \keepWithTag #'b \music
1840 \keepWithTag #'both \music
1844 Multiple @code{\removeWithTag} filters may be applied to a single
1845 music expression to remove several differently named tagged sections:
1847 @lilypond[verbatim,quote]
1848 music = \relative c'' {
1849 \tag #'A { a4 a a a }
1850 \tag #'B { b4 b b b }
1851 \tag #'C { c4 c c c }
1852 \tag #'D { d4 d d d }
1861 Two or more @code{\keepWithTag} filters applied to a single music
1862 expression will cause @emph{all} tagged sections to be removed, as
1863 the first filter will remove all tagged sections except the one
1864 named, and the second filter will remove even that tagged section.
1866 Sometimes you want to splice some music at a particular place in an
1867 existing music expression. You can use @code{\pushToTag} and
1868 @code{\appendToTag} for adding material at the front or end of the
1869 @code{elements} of an existing music construct. Not every music
1870 construct has @code{elements}, but sequential and simultaneous music are
1873 @lilypond[verbatim,quote]
1874 test = { \tag #'here { \tag #'here <<c''>> } }
1877 \pushToTag #'here c'
1878 \pushToTag #'here e'
1879 \pushToTag #'here g' \test
1880 \appendToTag #'here c'
1881 \appendToTag #'here e'
1882 \appendToTag #'here g' \test
1886 Both commands get a tag, the material to splice in at every occurence of
1887 the tag, and the tagged expression. The commands make sure to
1888 copy everything that they change so that the original @code{\test}
1889 retains its meaning.
1893 @rlearning{Organizing pieces with variables}.
1896 @ref{Automatic part combining},
1897 @ref{Including LilyPond files}.
1900 @c This warning is more general than this placement implies.
1901 @c Rests are not merged whether or not they come from tagged sections.
1902 @c Should be deleted? -td
1905 Multiple rests are not merged if you create a score with more
1906 than one tagged section at the same place.
1911 @node Using global settings
1912 @unnumberedsubsubsec Using global settings
1914 @cindex include-settings
1916 Global settings can be included from a separate file:
1919 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
1922 Groups of settings such as page size, font or type face can be stored
1923 in separate files. This allows different editions from the same score
1924 as well as standard settings to be applied to many scores, simply by
1925 specifying the proper settings file.
1927 This technique also works well with the use of style sheets, as
1928 discussed in @rlearning{Style sheets}.
1932 @rlearning{Organizing pieces with variables},
1933 @rlearning{Style sheets}.
1936 @ref{Including LilyPond files}.
1939 @node Special characters
1940 @subsection Special characters
1942 @cindex special characters
1943 @cindex non-ASCII characters
1953 @unnumberedsubsubsec Text encoding
1957 LilyPond uses the character repertoire defined by the Unicode
1958 consortium and ISO/IEC 10646. This defines a unique name and
1959 code point for the character sets used in virtually all modern
1960 languages and many others too. Unicode can be implemented using
1961 several different encodings. LilyPond uses the UTF-8 encoding
1962 (UTF stands for Unicode Transformation Format) which represents
1963 all common Latin characters in one byte, and represents other
1964 characters using a variable length format of up to four bytes.
1966 The actual appearance of the characters is determined by the
1967 glyphs defined in the particular fonts available - a font defines
1968 the mapping of a subset of the Unicode code points to glyphs.
1969 LilyPond uses the Pango library to layout and render multi-lingual
1972 LilyPond does not perform any input-encoding conversions. This
1973 means that any text, be it title, lyric text, or musical
1974 instruction containing non-ASCII characters, must be encoded in
1975 UTF-8. The easiest way to enter such text is by using a
1976 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1977 popular modern editors have UTF-8 support, for example, vim, Emacs,
1978 jEdit, and GEdit do. All MS Windows systems later than NT use
1979 Unicode as their native character encoding, so even Notepad can
1980 edit and save a file in UTF-8 format. A more functional
1981 alternative for Windows is BabelPad.
1983 If a LilyPond input file containing a non-ASCII character is not
1984 saved in UTF-8 format the error message
1987 FT_Get_Glyph_Name () error: invalid argument
1992 Here is an example showing Cyrillic, Hebrew and Portuguese
1996 %c No verbatim here as the code does not display correctly in PDF
1998 bulgarian = \lyricmode {
1999 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
2003 hebrew = \lyricmode {
2004 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
2008 portuguese = \lyricmode {
2009 à vo -- cê uma can -- ção legal
2015 \addlyrics { \bulgarian }
2016 \addlyrics { \hebrew }
2017 \addlyrics { \portuguese }
2022 @unnumberedsubsubsec Unicode
2026 To enter a single character for which the Unicode code point is
2027 known but which is not available in the editor being used, use
2028 either @code{\char ##xhhhh} or @code{\char #dddd} within a
2029 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
2030 the character required and @code{dddd} is the corresponding decimal
2031 value. Leading zeroes may be omitted, but it is usual to specify
2032 all four characters in the hexadecimal representation. (Note that
2033 the UTF-8 encoding of the code point should @emph{not} be used
2034 after @code{\char}, as UTF-8 encodings contain extra bits indicating
2035 the number of octets.) Unicode code charts and a character name
2036 index giving the code point in hexadecimal for any character can be
2037 found on the Unicode Consortium website,
2038 @uref{http://www.unicode.org/}.
2040 For example, @code{\char ##x03BE} and @code{\char #958} would both
2041 enter the Unicode U+03BE character, which has the Unicode name
2042 @qq{Greek Small Letter Xi}.
2044 Any Unicode code point may be entered in this way and if all special
2045 characters are entered in this format it is not necessary to save
2046 the input file in UTF-8 format. Of course, a font containing all
2047 such encoded characters must be installed and available to LilyPond.
2049 The following example shows Unicode hexadecimal values being entered
2050 in four places -- in a rehearsal mark, as articulation text, in
2051 lyrics and as stand-alone text below the score:
2053 @lilypond[quote,verbatim]
2056 c1 \mark \markup { \char ##x03EE }
2057 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
2059 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
2061 \markup { "Copyright 2008--2012" \char ##x00A9 }
2064 @cindex copyright sign
2066 To enter the copyright sign in the copyright notice use:
2070 copyright = \markup @{ \char ##x00A9 "2008" @}
2076 @unnumberedsubsubsec ASCII aliases
2078 A list of ASCII aliases for special characters can be included:
2080 @lilypond[quote,verbatim]
2082 #(include-special-characters)
2085 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2088 \new Staff { \repeat unfold 9 a'4 }
2090 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2095 "The replacement can be disabled:"
2096 "– &OE; …"
2097 \override #'(replacement-alist . ()) "– &OE; …"
2101 You can also make your own aliases, either globally:
2103 @lilypond[quote,verbatim]
2105 #(add-text-replacements!
2106 '(("100" . "hundred")
2107 ("dpi" . "dots per inch")))
2109 \markup "A 100 dpi."
2114 @lilypond[quote,verbatim]
2115 \markup \replace #'(("100" . "hundred")
2116 ("dpi" . "dots per inch")) "A 100 dpi."
2121 @ref{List of special characters}.
2124 @file{ly/text-replacements.ly}.
2127 @node Controlling output
2128 @section Controlling output
2131 * Extracting fragments of music::
2132 * Skipping corrected music::
2133 * Alternative output formats::
2134 * Replacing the notation font::
2137 @node Extracting fragments of music
2138 @subsection Extracting fragments of music
2140 It is possible to quote small fragments of a large score directly from
2141 the output. This can be compared to clipping a piece of a paper score
2144 This is done by defining the measures that need to be cut out
2145 separately. For example, including the following definition
2153 (make-rhythmic-location 5 1 2)
2154 (make-rhythmic-location 7 3 4)))
2159 will extract a fragment starting halfway the fifth measure, ending in
2160 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
2161 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
2163 More clip regions can be defined by adding more pairs of
2164 rhythmic-locations to the list.
2166 In order to use this feature, LilyPond must be invoked with
2167 @option{-dclip-systems}. The clips are output as EPS files, and are
2168 converted to PDF and PNG if these formats are switched on as well.
2170 For more information on output formats, see @rprogram{Invoking lilypond}.
2172 @node Skipping corrected music
2173 @subsection Skipping corrected music
2176 @funindex skipTypesetting
2177 @funindex showFirstLength
2178 @funindex showLastLength
2180 When entering or copying music, usually only the music near the end (where
2182 are adding notes) is interesting to view and correct. To speed up
2183 this correction process, it is possible to skip typesetting of all but
2184 the last few measures. This is achieved by putting
2187 showLastLength = R1*5
2192 in your source file. This will render only the last 5 measures
2193 (assuming 4/4 time signature) of every @code{\score} in the input
2194 file. For longer pieces, rendering only a small part is often an order
2195 of magnitude quicker than rendering it completely. When working on the
2196 beginning of a score you have already typeset (e.g. to add a new part),
2197 the @code{showFirstLength} property may be useful as well.
2199 Skipping parts of a score can be controlled in a more fine-grained
2200 fashion with the property @code{Score.skipTypesetting}. When it is
2201 set, no typesetting is performed at all.
2203 This property is also used to control output to the MIDI file. Note that
2204 it skips all events, including tempo and instrument changes. You have
2207 @lilypond[quote,relative=2,ragged-right,verbatim]
2209 \set Score.skipTypesetting = ##t
2211 \set Score.skipTypesetting = ##f
2215 In polyphonic music, @code{Score.skipTypesetting} will affect all
2216 voices and staves, saving even more time.
2218 @node Alternative output formats
2219 @subsection Alternative output formats
2221 @cindex scalable vector graphics output
2223 @cindex encapsulated postscript output
2226 The default output formats for the printed score are Portable
2227 Document Format (PDF) and PostScript (PS). Scalable Vector
2228 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
2229 Network Graphics (PNG) output formats are also available through
2230 command line options, see
2231 @rprogram{Basic command line options for LilyPond}.
2234 @node Replacing the notation font
2235 @subsection Replacing the notation font
2237 Gonville is an alternative to the Feta font used in LilyPond and can
2240 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2243 Here are a few sample bars of music set in Gonville:
2245 @c NOTE: these images are a bit big, but that's important
2246 @c for the font comparison. -gp
2247 @sourceimage{Gonville_after,,,}
2249 Here are a few sample bars of music set in LilyPond's Feta font:
2251 @sourceimage{Gonville_before,,,}
2253 @subsubheading Installation Instructions for MacOS
2255 Download and extract the zip file. Copy the @code{lilyfonts}
2256 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2257 information, see @rlearning{Other sources of information}. Rename the
2258 existing @code{fonts} directory to @code{fonts_orig} and the
2259 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2260 reverse the process.
2264 @rlearning{Other sources of information}.
2267 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2268 likely newer glyphs in later releases of LilyPond may not exist in the
2269 Gonville font family. Please refer to the author's website for more
2270 information on these and other specifics, including licensing of
2275 @section MIDI output
2280 MIDI (Musical Instrument Digital Interface) is a standard for
2281 connecting and controlling digital instruments. A MIDI file is a
2282 series of notes in a number of tracks. It is not an actual
2283 sound file; you need special software to translate between the
2284 series of notes and actual sounds.
2286 Pieces of music can be converted to MIDI files, so you can listen to
2287 what was entered. This is convenient for checking the music; octaves
2288 that are off or accidentals that were mistyped stand out very much
2289 when listening to the MIDI output.
2291 Standard MIDI output is somewhat crude; optionally, an enhanced and
2292 more realistic MIDI output is available by means of
2293 @ref{The Articulate script}.
2295 The MIDI output allocates a channel for each staff, and reserves channel
2296 10 for drums. There are only 16 MIDI channels per device, so if the
2297 score contains more than 15 staves, MIDI channels will be reused.
2300 * Creating MIDI files::
2302 * What goes into the MIDI output?::
2304 * Controlling MIDI dynamics::
2305 * Percussion in MIDI::
2306 * The Articulate script::
2309 @node Creating MIDI files
2310 @subsection Creating MIDI files
2312 To create a MIDI output file from a LilyPond input file, add a
2313 @code{\midi} block to a score, for example,
2322 If there is a @code{\midi} block in a @code{\score} with no
2323 @code{\layout} block, only MIDI output will be produced. When
2324 notation is needed too, a @code{\layout} block must also be
2335 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2336 and translated correctly to the MIDI output. Dynamic marks,
2337 crescendi and decrescendi translate into MIDI volume levels.
2338 Dynamic marks translate to a fixed fraction of the available MIDI
2339 volume range. Crescendi and decrescendi make the volume vary
2340 linearly between their two extremes. The effect of dynamic markings
2341 on the MIDI output can be removed completely, see @ref{MIDI block}.
2343 The initial tempo and later tempo changes can be specified
2344 with the @code{\tempo} command within the music notation. These
2345 are reflected in tempo changes in the MIDI output. This command
2346 will normally result in the metronome mark being printed, but this
2347 can be suppressed, see @ref{Metronome marks}. An alternative way
2348 of specifying the initial or overall MIDI tempo is described below,
2349 see @ref{MIDI block}.
2351 Due to some limitations on Windows, the default extension for
2352 MIDI files on Windows is @code{.mid}. Other operating systems still
2353 use the extension @code{.midi}. If a different extension is preferred,
2354 insert the following line at the top-level of the input file,
2355 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2358 #(ly:set-option 'midi-extension "midi")
2361 The line above will set the default extension for MIDI files to
2364 Alternatively, this option can also be supplied on the command line:
2367 lilypond … -dmidi-extension=midi lilyFile.ly
2371 @unnumberedsubsubsec Instrument names
2373 @cindex instrument names
2374 @funindex Staff.midiInstrument
2376 The MIDI instrument to be used is specified by setting the
2377 @code{Staff.midiInstrument} property to the instrument name.
2378 The name should be chosen from the list in @ref{MIDI instruments}.
2382 \set Staff.midiInstrument = #"glockenspiel"
2388 \new Staff \with @{midiInstrument = #"cello"@} @{
2393 If the selected instrument does not exactly match an instrument from
2394 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2400 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2401 {changing-midi-output-to-one-channel-per-voice.ly}
2405 @c In 2.11 the following no longer seems to be a problem -td
2407 Unterminated (de)crescendos will not render properly in the midi file,
2408 resulting in silent passages of music. The workaround is to explicitly
2409 terminate the (de)crescendo. For example,
2416 will not work properly but
2419 @{ a4\< b c d\!\f @}
2426 Changes in the MIDI volume take place only on starting a note, so
2427 crescendi and decrescendi cannot affect the volume of a
2430 Not all midi players correctly handle tempo changes in the midi
2431 output. Players that are known to work include MS Windows Media
2432 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2435 @subsection MIDI block
2438 A @code{\midi} block must appear within a score block if MIDI output
2439 is required. It is analogous to the layout block, but somewhat
2440 simpler. Often, the @code{\midi} block is left empty, but it
2441 can contain context rearrangements, new context definitions or code
2442 to set the values of properties. For example, the following will
2443 set the initial tempo exported to a MIDI file without causing a tempo
2444 indication to be printed:
2455 In this example the tempo is set to 72 quarter note
2456 beats per minute. @code{\tempo} is actually a music command for
2457 setting properties during the interpretation of music: in the
2458 context of output definitions like a @code{\midi} block, as a matter of
2459 courtesy those are reinterpreted as if they were context modifications.
2461 @cindex MIDI context definitions
2463 Context definitions follow precisely the same syntax as those
2464 within a @code{\layout} block. Translation modules for sound are
2465 called performers. The contexts for MIDI output are defined in
2466 @file{../ly/performer-init.ly},
2467 see @rlearning{Other sources of information}.
2468 For example, to remove the effect of dynamics
2469 from the MIDI output, insert the following lines in the
2470 @code{\midi@{ @}} block.
2477 \remove "Dynamic_performer"
2482 MIDI output is created only when a @code{\midi} block is included
2483 within a score block defined with a @code{\score} command.
2487 @{ @dots{}notes@dots{} @}
2492 @node What goes into the MIDI output?
2493 @subsection What goes into the MIDI output?
2495 @c TODO Check grace notes - timing is suspect?
2497 @unnumberedsubsubsec Supported in MIDI
2499 @cindex Pitches in MIDI
2500 @cindex MIDI, Pitches
2501 @cindex Quarter tones in MIDI
2502 @cindex MIDI, quarter tones
2503 @cindex Microtones in MIDI
2504 @cindex MIDI, microtones
2505 @cindex Chord names in MIDI
2506 @cindex MIDI, chord names
2507 @cindex Rhythms in MIDI
2508 @cindex MIDI, Rhythms
2509 @cindex Articlulate scripts
2510 @cindex MIDI, articulations
2511 @cindex articulations in MIDI
2512 @cindex trills in MIDI
2513 @cindex turns in MIDI
2514 @cindex rallentando in MIDI
2515 @cindex accelerando in MIDI
2518 The following items of notation are reflected in the MIDI output:
2522 @item Microtones (See @ref{Accidentals}. Rendering needs a
2523 player that supports pitch bend.)
2524 @item Chords entered as chord names
2525 @item Rhythms entered as note durations, including tuplets
2526 @item Tremolos entered without @q{@code{:}[@var{number}]}
2529 @item Crescendi, decrescendi over multiple notes
2530 @item Tempo changes entered with a tempo marking
2534 Using @ref{The Articulate script}, a number of items are added to the
2538 @item Articulations (slurs, staccato, etc)
2540 @item Rallentando and accelerando
2544 @unnumberedsubsubsec Unsupported in MIDI
2546 @c TODO index as above
2548 The following items of notation have no effect on the MIDI output,
2549 unless you use @ref{The Articulate script}:
2552 @item Rhythms entered as annotations, e.g. swing
2553 @item Tempo changes entered as annotations with no tempo marking
2554 @item Staccato and other articulations and ornamentations
2555 @item Slurs and Phrasing slurs
2556 @item Crescendi, decrescendi over a single note
2557 @item Tremolos entered with @q{@code{:}[@var{number}]}
2559 @item Microtonal chords
2563 @node Repeats in MIDI
2564 @subsection Repeats in MIDI
2566 @cindex repeats in MIDI
2567 @funindex \unfoldRepeats
2569 With a few minor additions, all types of repeats can be represented
2570 in the MIDI output. This is achieved by applying the
2571 @code{\unfoldRepeats} music function. This function changes all
2572 repeats to unfold repeats.
2574 @lilypond[quote,verbatim]
2576 \repeat tremolo 8 { c'32 e' }
2577 \repeat percent 2 { c''8 d'' }
2578 \repeat volta 2 { c'4 d' e' f' }
2587 In scores containing multiple voices, unfolding of repeats in MIDI
2588 output will only occur correctly if @emph{each} voice contains fully
2589 notated repeat indications.
2591 When creating a score file using @code{\unfoldRepeats} for MIDI,
2592 it is necessary to make two @code{\score} blocks: one for MIDI
2593 (with unfolded repeats) and one for notation (with volta, tremolo,
2594 and percent repeats). For example,
2602 \unfoldRepeats @var{..music..}
2607 @node Controlling MIDI dynamics
2608 @subsection Controlling MIDI dynamics
2610 MIDI dynamics are implemented by the Dynamic_performer which lives
2611 by default in the Voice context. It is possible to control the
2612 overall MIDI volume, the relative volume of dynamic markings and
2613 the relative volume of different instruments.
2615 @unnumberedsubsubsec Dynamic marks
2617 Dynamic marks are translated to a fixed fraction of the available
2618 MIDI volume range. The default fractions range from 0.25 for
2619 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2620 marks and the associated fractions can be seen in
2621 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2622 This set of fractions may be changed or extended by providing a
2623 function which takes a dynamic mark as its argument and returns the
2624 required fraction, and setting
2625 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2627 For example, if a @notation{rinforzando} dynamic marking,
2628 @code{\rfz}, is required, this will not by default
2629 have any effect on the MIDI volume, as this dynamic marking is not
2630 included in the default set. Similarly, if a new dynamic marking
2631 has been defined with @code{make-dynamic-script} that too will not
2632 be included in the default set. The following example shows how the
2633 MIDI volume for such dynamic markings might be added. The Scheme
2634 function sets the fraction to 0.9 if a dynamic mark of rfz is
2635 found, or calls the default function otherwise.
2637 @lilypond[verbatim,quote]
2638 #(define (myDynamics dynamic)
2639 (if (equal? dynamic "rfz")
2641 (default-dynamic-absolute-volume dynamic)))
2645 \set Staff.midiInstrument = #"cello"
2646 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2658 Alternatively, if the whole table of fractions needs to be
2659 redefined, it would be better to use the
2660 @notation{default-dynamic-absolute-volume} procedure in
2661 @file{../scm/midi.scm} and the associated table as a model.
2662 The final example in this section shows how this might be done.
2664 @unnumberedsubsubsec Overall MIDI volume
2666 The minimum and maximum overall volume of MIDI dynamic markings is
2667 controlled by setting the properties @code{midiMinimumVolume} and
2668 @code{midiMaximumVolume} at the @code{Score} level. These
2669 properties have an effect only on dynamic marks, so if they
2670 are to apply from the start of the score a dynamic mark must be
2671 placed there. The fraction corresponding to each dynamic mark is
2672 modified with this formula
2675 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2678 In the following example the dynamic range of the overall MIDI
2679 volume is limited to the range 0.2 - 0.5.
2681 @lilypond[verbatim,quote]
2687 \set Staff.midiInstrument = #"flute"
2688 \new Voice \relative c''' {
2696 \set Staff.midiInstrument = #"clarinet"
2697 \new Voice \relative c'' {
2709 midiMinimumVolume = #0.2
2710 midiMaximumVolume = #0.5
2716 @unnumberedsubsubsec Equalizing different instruments (i)
2718 If the minimum and maximum MIDI volume properties are set in
2719 the @code{Staff} context the relative volumes of the MIDI
2720 instruments can be controlled. This gives a basic instrument
2721 equalizer, which can enhance the quality of the MIDI output
2724 In this example the volume of the clarinet is reduced relative
2725 to the volume of the flute. There must be a dynamic
2726 mark on the first note of each instrument for this to work
2729 @lilypond[verbatim,quote]
2735 \set Staff.midiInstrument = #"flute"
2736 \set Staff.midiMinimumVolume = #0.7
2737 \set Staff.midiMaximumVolume = #0.9
2738 \new Voice \relative c''' {
2746 \set Staff.midiInstrument = #"clarinet"
2747 \set Staff.midiMinimumVolume = #0.3
2748 \set Staff.midiMaximumVolume = #0.6
2749 \new Voice \relative c'' {
2763 @unnumberedsubsubsec Equalizing different instruments (ii)
2765 If the MIDI minimum and maximum volume properties are not set
2766 LilyPond will, by default, apply a small degree of equalization
2767 to a few instruments. The instruments and the equalization
2768 applied are shown in the table @notation{instrument-equalizer-alist}
2769 in @file{../scm/midi.scm}.
2771 This basic default equalizer can be replaced by setting
2772 @code{instrumentEqualizer} in the @code{Score} context to a new
2773 Scheme procedure which accepts a MIDI instrument name as its only
2774 argument and returns a pair of fractions giving the minimum and
2775 maximum volumes to be applied to that instrument. This replacement
2776 is done in the same way as shown for resetting the
2777 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2778 The default equalizer, @notation{default-instrument-equalizer}, in
2779 @file{../scm/midi.scm} shows how such a procedure might be written.
2781 The following example sets the relative flute and clarinet volumes
2782 to the same values as the previous example.
2784 @lilypond[verbatim,quote]
2785 #(define my-instrument-equalizer-alist '())
2787 #(set! my-instrument-equalizer-alist
2790 ("flute" . (0.7 . 0.9))
2791 ("clarinet" . (0.3 . 0.6)))
2792 my-instrument-equalizer-alist))
2794 #(define (my-instrument-equalizer s)
2795 (let ((entry (assoc s my-instrument-equalizer-alist)))
2804 \set Score.instrumentEqualizer = #my-instrument-equalizer
2805 \set Staff.midiInstrument = #"flute"
2806 \new Voice \relative c''' {
2814 \set Staff.midiInstrument = #"clarinet"
2815 \new Voice \relative c'' {
2830 @c Delete when satisfied this is adequately covered elsewhere -td
2832 @n ode Microtones in MIDI
2833 @s ubsection Microtones in MIDI
2835 @cindex microtones in MIDI
2837 Microtones consisting of half sharps and half flats are exported
2838 to the MIDI file and render correctly in MIDI players which support
2839 pitch bending. See @ref{Note names in other languages}. Here is
2840 an example showing all the half sharps and half flats. It can be
2841 copied out and compiled to test microtones in your MIDI player.
2843 @lilypond[verbatim,quote]
2860 @node Percussion in MIDI
2861 @subsection Percussion in MIDI
2863 Percussion instruments are generally notated in a @code{DrumStaff}
2864 context and when notated in this way they are outputted correctly
2865 to MIDI channel@tie{}10, but some pitched percussion instruments,
2866 like the xylophone, marimba, vibraphone, timpani, etc., are
2867 treated like @qq{normal} instruments and music for these instruments
2868 should be entered in a normal @code{Staff} context, not a
2869 @code{DrumStaff} context, to obtain the correct MIDI output.
2871 Some non-pitched percussion sounds included in the general MIDI
2872 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2873 be reached via MIDI channel@tie{}10, so the notation for such
2874 instruments should also be entered in a normal @code{Staff}
2875 context, using suitable normal pitches.
2877 Many percussion instruments are not included in the general MIDI
2878 standard, e.g. castanets. The easiest, although unsatisfactory,
2879 method of producing some MIDI output when writing for such
2880 instruments is to substitute the nearest sound from the standard
2883 @c TODO Expand with examples, and any other issues
2887 Because the general MIDI standard does not contain rim shots, the
2888 sidestick is used for this purpose instead.
2890 @node The Articulate script
2891 @subsection The Articulate script
2893 A more realistic MIDI output is possible when using the Articulate
2894 script. It tries to take articulations (slurs, staccato, etc) into
2895 account, by replacing notes with sequential music of suitably
2896 time-scaled note plus skip. It also tries to unfold trills turns
2897 etc., and take rallentando and accelerando into account.
2899 To use the Articulate script, you have to include it at the top of
2903 \include "articulate.ly"
2906 and in the @code{\score} section do
2909 \unfoldRepeats \articulate <<
2910 all the rest of the score...
2914 After altering your input file this way, the visual output is heavily
2915 altered, but the standard @code{\midi} block will produce a better
2918 Although not essential for the Articulate script to work, you may want
2919 to insert the @code{\unfoldRepeats} command as it appears in the
2920 example shown above as it enables performing abbreviatures such as
2925 Articulate shortens chords and some music (esp. organ music) could
2929 @node Extracting musical information
2930 @section Extracting musical information
2932 In addition to creating graphical output and MIDI, LilyPond can
2933 display musical information as text.
2936 * Displaying LilyPond notation::
2937 * Displaying scheme music expressions::
2938 * Saving music events to a file::
2941 @node Displaying LilyPond notation
2942 @subsection Displaying LilyPond notation
2944 @funindex \displayLilyMusic
2945 Displaying a music expression in LilyPond notation can be
2946 done with the music function @code{\displayLilyMusic}. To see the
2947 output, you will typically want to call LilyPond using the command
2952 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2959 @{ a,4 cis e fis g @}
2962 By default, LilyPond will print these messages to the console
2963 along with all the other LilyPond compilation messages. To split
2964 up these messages and save the results of @code{\display@{STUFF@}},
2965 redirect the output to a file.
2968 lilypond file.ly >display.txt
2972 Note that Lilypond does not just display the music expression, but
2973 also interprets it (since @code{\displayLilyMusic} returns it in
2974 addition to displaying it). This is convenient since you can just
2975 insert @code{\displayLilyMusic} into existing music in order to get
2976 information about it. If you don't actually want Lilypond to
2977 interpret the displayed music as well as display it, use @code{\void}
2978 in order to have it ignored:
2982 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2987 @node Displaying scheme music expressions
2988 @subsection Displaying scheme music expressions
2990 See @rextend{Displaying music expressions}.
2993 @node Saving music events to a file
2994 @subsection Saving music events to a file
2996 Music events can be saved to a file on a per-staff basis by
2997 including a file in your main score.
3000 \include "event-listener.ly"
3003 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
3004 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
3005 you have multiple unnamed staves, the events for all staves will
3006 be mixed together in the same file. The output looks like this:
3009 0.000 note 57 4 p-c 2 12
3011 0.250 note 62 4 p-c 7 12
3012 0.500 note 66 8 p-c 9 12
3013 0.625 note 69 8 p-c 14 12
3018 The syntax is a tab-delimited line, with two fixed fields on each
3019 line followed by optional parameters.
3022 @var{time} @var{type} @var{...params...}
3025 This information can easily be read into other programs such as
3026 python scripts, and can be very useful for researchers wishing to
3027 perform musical analysis or playback experiments with LilyPond.
3032 Not all lilypond music events are supported by
3033 @file{event-listener.ly}. It is intended to be a well-crafted
3034 @qq{proof of concept}. If some events that you want to see are
3035 not included, copy @file{event-listener.ly} into your lilypond
3036 directory and modify the file so that it outputs the information