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
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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 The following example centers page numbers at the bottom of every
985 page. First, the default settings for @code{oddHeaderMarkup} and
986 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
987 markup. Then, @code{oddFooterMarkup} is redefined with the page
988 number centered. Finally, @code{evenFooterMarkup} is given the
989 same layout by defining it as @code{\oddFooterMarkup}:
991 @lilypond[papersize=a8,quote,verbatim,noragged-right]
994 print-page-number = ##t
995 print-first-page-number = ##t
996 oddHeaderMarkup = \markup \null
997 evenHeaderMarkup = \markup \null
998 oddFooterMarkup = \markup {
1000 \on-the-fly #print-page-number-check-first
1001 \fromproperty #'page:page-number-string
1004 evenFooterMarkup = \oddFooterMarkup
1007 \new Staff { s1 \break s1 \break s1 }
1014 @ref{Title blocks explained},
1015 @ref{Default layout of book and score title blocks}.
1018 @node Creating footnotes
1019 @subsection Creating footnotes
1021 There are two types of footnotes that can be created; automatic
1022 footnotes and manual footnotes.
1025 * Footnotes overview::
1026 * Automatic footnotes::
1027 * Manual footnotes::
1030 @node Footnotes overview
1031 @unnumberedsubsubsec Footnotes overview
1033 Automatic footnotes create incrementing numerical indicators and manual
1034 footnotes allow a custom indicator to be created instead. Footnotes are
1035 normally applied like @code{\tweak} and consequently can be placed
1036 directly on grobs (graphical objects) created by most music elements and
1037 post-events. In cases where this does not work (like with bar lines and
1038 meter changes, where the grobs are produced as a consequence of property
1039 changes), footnotes can also be specified as a standalone music event
1040 affecting all grobs of a given type at a particular time step.
1042 The full form of a footnote command is
1045 \footnote @var{mark} @var{offset} @var{grob-name} @var{footnote}
1049 The elements are as follows:
1053 is a markup or string specifying the footnote mark which is used for
1054 both marking the reference point as well as the footnote itself at the
1055 bottom of the page. It can be omitted (or equivalently replaced with
1056 @code{\default}) in which case a number in sequence will be generated.
1058 is a number pair such as @samp{#(2 . 1)} specifying the X and Y offset
1059 from the reference point where the mark will be placed.
1061 specifies a type of grob to mark (like @samp{#'Flag}). If it is given,
1062 the respective grob will be used as a reference point even in case that
1063 its @q{cause} is not the referenced @var{music} itself but a grob
1064 created from it. It can be omitted (or replaced with @code{\default}),
1065 and then only a directly created grob will be annotated.
1067 This markup or string specifies the footnote text to use at the bottom
1070 This is the item, a music event or chord constituent or post-event, that
1071 is being annotated. While it cannot be omitted, it @emph{can} be
1072 replaced by @code{\default} in which case the footnote is not attached
1073 to a music expression in particular, but rather to a moment of time. It
1074 is mandatory in this case to use the @var{grob-name} argument for
1075 selecting an affected grob type, like @samp{#'TimeSignature}.
1078 Like with @code{\tweak}, if your @code{\footnote} is applied to a
1079 post-event or articulation, it will itself have to be preceded with
1080 @code{-} to make the parser attach the result to the preceding note or
1083 @node Automatic footnotes
1084 @unnumberedsubsubsec Automatic footnotes
1086 Automatic footnotes take four arguments: the @samp{(x . y)} position of
1087 the indicator, the optional @var{grob-name} specifying the layout object
1088 to be annotated, the @var{footnote} markup itself that will appear at
1089 the bottom of the page, and of course the @var{music} to attach the
1092 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1094 \header { tagline = ##f }
1096 \footnote #'(0.5 . -2)
1097 \markup { The first note }
1099 \footnote #'(0.5 . 1) #'Flag
1100 \markup { The third note }
1106 Chorded notes pose no particular difficulty:
1108 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1110 \header { tagline = ##f }
1113 \footnote #'(1 . -1.25) "Here is a C" c
1114 \footnote #'(2 . -0.25) \markup { \italic "An E-flat" } es
1115 \footnote #'(2 . 3) \markup { \bold "This is a G" } g
1121 @warning {When footnotes have the same vertical position, the footnotes
1122 are printed in order of descendancy; the higher the footnote, the
1123 higher up in the list.}
1125 Here are some more examples of footnoted grobs, also showing the
1126 relative position of the footnotes to the tagline and copyright.
1128 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1130 \header { copyright = \markup { "Copyright 1970" } }
1132 a'4-\footnote #'(-3 . 0) \markup { \bold Forte } \f
1133 -\footnote #'(0 . 1.5) \markup { A slur } (
1134 b8)-\footnote #'(0 . -2) \markup { Beam } [ e]
1135 \footnote #'(1 . -1) #'Stem
1136 \markup { \teeny { This is a stem } }
1138 \footnote #'(0 . 0.5) #'AccidentalCautionary
1139 \markup \italic { A cautionary accidental }
1140 \footnote #'(1 . 1) "The note itself"
1141 dis?4-\footnote #'(0.5 . -0.5) \markup \italic { Slow Down }
1147 For top-level @code{\markup}, the @code{\auto-footnote} command is
1150 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1152 \header { tagline = ##f }
1153 \markup { \auto-footnote "A simple tune" \italic "By me" }
1161 @node Manual footnotes
1162 @unnumberedsubsubsec Manual footnotes
1164 @cindex footnotes, manual
1166 Manually marked footnotes take an additional first markup argument
1167 @var{mark} for making the reference mark. In contrast to automatically
1168 generated footnote marks, they will not appear before the @var{footnote}
1169 markup at the bottom of the page: establishing the visual connection is
1170 left to the user. LilyPond will only make sure that the corresponding
1171 markup appears on the bottom of the same page.
1173 Other than that, the use is identical to that of automatically numbered
1176 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1178 \header { tagline = ##f }
1182 \markup { \italic "1. The first note" }
1186 \markup { \bold "2" } #'(0.5 . 1)
1187 "2. The second note"
1190 d-\footnote "3" #'(0.5 . -1) "3. Piano" \p
1195 To annotate chorded notes with manual footnotes:
1197 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1199 \header { tagline = ##f }
1202 \footnote "1" #'(1 . -1.25) "1. C" c
1204 \markup { \bold "b" } #'(2 . -0.25) "b. E-flat" es
1205 \footnote "3" #'(2 . 3) \markup { \italic "iii. G" } g
1211 @warning {When footnotes have the same vertical position, the footnotes
1212 are printed in order of descendancy; the higher the footnote, the
1213 higher up in the list.}
1215 Here are some examples of manually footnoted grobs, also showing
1216 the relative position of the footnotes to the tagline and copyright
1218 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1220 \header { tagline = ##f }
1223 \markup { \teeny 1 } #'(-3 . 0)
1224 \markup { 1. \bold Forte } \f
1226 \markup { \teeny b } #'(0 . 1.5)
1227 \markup { b. A slur } (
1229 \markup { \teeny 3 } #'(0 . -2)
1230 \markup { 3. Beam } [
1233 \markup { 4 } #'(1 . -1) #'Stem
1234 \markup { \bold 4. { This is a stem } }
1237 \markup \concat \teeny { "sharp (v)" }
1238 #'(0 . 0.5) #'AccidentalCautionary
1239 \markup \italic { v. A cautionary accidental }
1241 \markup \concat \teeny { "a" } #'(0.5 . -0.5)
1242 \markup \italic { a. Slow Down } _"rit."
1244 \markup { \teeny \musicglyph #"rests.4" }
1246 \markup { \null } \breathe
1251 To manually footnote a top-level @code{\markup}:
1253 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1255 \header { tagline = ##f }
1256 \markup { "A simple tune" \footnote "*" \italic "* By me" }
1265 @rlearning{Objects and interfaces}.
1272 @ref{Titles and headers}.
1274 Internals Reference:
1275 @rinternals{FootnoteEvent},
1276 @rinternals{FootnoteItem},
1277 @rinternals{FootnoteSpanner},
1278 @rinternals{Footnote_engraver}.
1281 Multiple footnotes for the same page can only be stacked, one on top of
1282 the other, and cannot be printed on the same line. Footnotes cannot be
1283 attached to @code{MultiMeasureRests} and may collide with @code{Staff},
1284 @code{\markup} objects and other @code{footnote} annotations. When
1285 using any manual @code{footnote} command a @code{\paper} block
1286 containing @code{footnote-auto-number = ##f} is required.
1289 @node Reference to page numbers
1290 @subsection Reference to page numbers
1292 A particular place of a score can be marked using the @code{\label}
1293 command, either at top-level or inside music. This label can then be
1294 referred to in a markup, to get the number of the page where the marked
1295 point is placed, using the @code{\page-ref} markup command.
1298 \header { tagline = ##f }
1304 \pageBreak \mark A \label #'markA
1308 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1309 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1313 The @code{\page-ref} markup command takes three arguments:
1315 @item the label, a scheme symbol, eg. @code{#'firstScore};
1316 @item a markup that will be used as a gauge to estimate the dimensions
1318 @item a markup that will be used in place of the page number if the label
1322 The reason why a gauge is needed is that, at the time markups are
1323 interpreted, the page breaking has not yet occurred, so the page numbers
1324 are not yet known. To work around this issue, the actual markup
1325 interpretation is delayed to a later time; however, the dimensions of
1326 the markup have to be known before, so a gauge is used to decide these
1327 dimensions. If the book has between 10 and 99 pages, it may be "00",
1328 ie. a two digit number.
1339 @node Table of contents
1340 @subsection Table of contents
1341 A table of contents is included using the @code{\markuplist \table-of-contents}
1342 command. The elements which should appear in the table of contents are
1343 entered with the @code{\tocItem} command, which may be used either at
1344 top-level, or inside a music expression.
1347 \markuplist \table-of-contents
1350 \tocItem \markup "First score"
1354 \tocItem \markup "Some particular point in the first score"
1359 \tocItem \markup "Second score"
1367 The markups which are used to format the table of contents are defined
1368 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
1369 for formatting the title of the table, and @code{tocItemMarkup}, for
1370 formatting the toc elements, composed of the element title and page
1371 number. These variables may be changed by the user:
1375 %% Translate the toc title into French:
1376 tocTitleMarkup = \markup \huge \column {
1377 \fill-line { \null "Table des matières" \null }
1380 %% use larger font size
1381 tocItemMarkup = \markup \large \fill-line {
1382 \fromproperty #'toc:text \fromproperty #'toc:page
1387 Note how the toc element text and page number are referred to in
1388 the @code{tocItemMarkup} definition.
1390 New commands and markups may also be defined to build more elaborated
1393 @item first, define a new markup variable in the @code{\paper} block
1394 @item then, define a music function which aims at adding a toc element
1395 using this markup paper variable.
1398 In the following example, a new style is defined for entering act names
1399 in the table of contents of an opera:
1403 tocActMarkup = \markup \large \column {
1405 \fill-line { \null \italic \fromproperty #'toc:text \null }
1411 #(define-music-function (parser location text) (markup?)
1412 (add-toc-item! 'tocActMarkup text))
1415 @lilypond[line-width=11.0\cm]
1416 \header { tagline = ##f }
1418 tocActMarkup = \markup \large \column {
1420 \fill-line { \null \italic \fromproperty #'toc:text \null }
1426 #(define-music-function (parser location text) (markup?)
1427 (add-toc-item! 'tocActMarkup text))
1430 \markuplist \table-of-contents
1431 \tocAct \markup { Atto Primo }
1432 \tocItem \markup { Coro. Viva il nostro Alcide }
1433 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
1434 \tocAct \markup { Atto Secondo }
1435 \tocItem \markup { Sinfonia }
1436 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1441 Dots can be added to fill the line between an item and its page number:
1443 @lilypond[verbatim,quote]
1444 \header { tagline = ##f }
1446 tocItemMarkup = \tocItemWithDotsMarkup
1450 \markuplist \table-of-contents
1451 \tocItem \markup { Allegro }
1452 \tocItem \markup { Largo }
1459 @file{ly/toc-init.ly}.
1462 @funindex \table-of-contents
1463 @code{\table-of-contents},
1469 @node Working with input files
1470 @section Working with input files
1473 * Including LilyPond files::
1474 * Different editions from one source::
1475 * Special characters::
1479 @node Including LilyPond files
1480 @subsection Including LilyPond files
1483 @cindex including files
1485 A large project may be split up into separate files. To refer to
1489 \include "otherfile.ly"
1492 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1493 contents of @file{otherfile.ly} into the current file at the place
1494 where the @code{\include} appears. For example, in a large
1495 project you might write separate files for each instrument part
1496 and create a @qq{full score} file which brings together the
1497 individual instrument files. Normally the included file will
1498 define a number of variables which then become available
1499 for use in the full score file. Tagged sections can be
1500 marked in included files to assist in making them usable in
1501 different places in a score, see @ref{Different editions from
1504 Files in the current working directory may be referenced by
1505 specifying just the file name after the @code{\include} command.
1506 Files in other locations may be included by giving either a full
1507 path reference or a relative path reference (but use the UNIX
1508 forward slash, /, rather than the DOS/Windows back slash, \, as the
1509 directory separator.) For example, if @file{stuff.ly} is located
1510 one directory higher than the current working directory, use
1513 \include "../stuff.ly"
1517 or if the included orchestral parts files are all located in a
1518 subdirectory called @file{parts} within the current directory, use
1521 \include "parts/VI.ly"
1522 \include "parts/VII.ly"
1526 Files which are to be included can also contain @code{\include}
1527 statements of their own. By default, these second-level
1528 @code{\include} statements are not interpreted until they have
1529 been brought into the main file, so the file names they specify
1530 must all be relative to the directory containing the main file,
1531 not the directory containing the included file. However,
1532 this behavior can be changed by passing the option
1533 @option{-drelative-includes} option at the command line
1534 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1535 at the top of the main input file). With @code{relative-includes}
1536 set, the path for each @code{\include} command will be taken
1537 relative to the file containing that command. This behavior is
1538 recommended and it will become the default behavior in a future
1539 version of lilypond.
1541 Files can also be included from a directory in a search path
1542 specified as an option when invoking LilyPond from the command
1543 line. The included files are then specified using just their
1544 file name. For example, to compile @file{main.ly} which includes
1545 files located in a subdirectory called @file{parts} by this method,
1546 cd to the directory containing @file{main.ly} and enter
1549 lilypond --include=parts main.ly
1552 and in main.ly write
1560 Files which are to be included in many scores may be placed in
1561 the LilyPond directory @file{../ly}. (The location of this
1562 directory is installation-dependent - see
1563 @rlearning{Other sources of information}). These files can then
1564 be included simply by naming them on an @code{\include} statement.
1565 This is how the language-dependent files like @file{english.ly} are
1568 LilyPond includes a number of files by default when you start
1569 the program. These includes are not apparent to the user, but the
1570 files may be identified by running @code{lilypond --verbose} from
1571 the command line. This will display a list of paths and files that
1572 LilyPond uses, along with much other information. Alternatively,
1573 the more important of these files are discussed in
1574 @rlearning{Other sources of information}. These files may be
1575 edited, but changes to them will be lost on installing a new
1576 version of LilyPond.
1578 Some simple examples of using @code{\include} are shown in
1579 @rlearning{Scores and parts}.
1583 @rlearning{Other sources of information},
1584 @rlearning{Scores and parts}.
1587 If an included file is given a name which is the same as one in
1588 LilyPond's installation files, LilyPond's file from the
1589 installation files takes precedence.
1592 @node Different editions from one source
1593 @subsection Different editions from one source
1595 Several methods can be used to generate different versions of a score
1596 from the same music source. Variables are perhaps the most useful for
1597 combining lengthy sections of music and/or annotation. Tags are more
1598 useful for selecting one section from several alternative shorter
1599 sections of music, and can also be used for splicing pieces of music
1600 together at different points.
1602 Whichever method is used, separating the notation from the structure of
1603 the score will make it easier to change the structure while leaving the
1609 * Using global settings::
1612 @node Using variables
1613 @unnumberedsubsubsec Using variables
1615 @cindex variables, use of
1617 If sections of the music are defined in variables they can be
1618 reused in different parts of the score, see @rlearning{Organizing
1619 pieces with variables}. For example, an @notation{a cappella}
1620 vocal score frequently includes a piano reduction of the parts
1621 for rehearsal purposes which is identical to the vocal music, so
1622 the music need be entered only once. Music from two variables
1623 may be combined on one staff, see @ref{Automatic part combining}.
1626 @lilypond[verbatim,quote]
1627 sopranoMusic = \relative c'' { a4 b c b8( a) }
1628 altoMusic = \relative g' { e4 e e f }
1629 tenorMusic = \relative c' { c4 b e d8( c) }
1630 bassMusic = \relative c' { a4 gis a d, }
1631 allLyrics = \lyricmode {King of glo -- ry }
1633 \new Staff = "Soprano" \sopranoMusic
1634 \new Lyrics \allLyrics
1635 \new Staff = "Alto" \altoMusic
1636 \new Lyrics \allLyrics
1637 \new Staff = "Tenor" {
1641 \new Lyrics \allLyrics
1642 \new Staff = "Bass" {
1646 \new Lyrics \allLyrics
1649 \set Staff.printPartCombineTexts = ##f
1655 \set Staff.printPartCombineTexts = ##f
1665 Separate scores showing just the vocal parts or just the piano
1666 part can be produced by changing just the structural statements,
1667 leaving the musical notation unchanged.
1669 For lengthy scores, the variable definitions may be placed in
1670 separate files which are then included, see @ref{Including
1674 @unnumberedsubsubsec Using tags
1677 @funindex \keepWithTag
1678 @funindex \removeWithTag
1679 @funindex \pushToTag
1680 @funindex \appendToTag
1682 @cindex keep tagged music
1683 @cindex remove tagged music
1684 @cindex splice into tagged music
1686 The @code{\tag #'@var{partA}} command marks a music expression
1687 with the name @var{partA}.
1688 Expressions tagged in this way can be selected or filtered out by
1689 name later, using either @code{\keepWithTag #'@var{name}} or
1690 @code{\removeWithTag #'@var{name}}. The result of applying these filters
1691 to tagged music is as follows:
1692 @multitable @columnfractions .5 .5
1696 Tagged music preceded by @code{\keepWithTag #'@var{name}}
1697 @tab Untagged music and music tagged with @var{name} is included;
1698 music tagged with any other tag name is excluded.
1700 Tagged music preceded by @code{\removeWithTag #'@var{name}}
1701 @tab Untagged music and music tagged with any tag name other than
1702 @var{name} is included; music tagged with @var{name} is
1705 Tagged music not preceded by either @code{\keepWithTag} or
1706 @code{\removeWithTag}
1707 @tab All tagged and untagged music is included.
1710 The arguments of the @code{\tag}, @code{\keepWithTag} and
1711 @code{\removeWithTag} commands should be a symbol
1712 (such as @code{#'score} or @code{#'part}), followed
1713 by a music expression.
1715 In the following example, we see two versions of a piece of music,
1716 one showing trills with the usual notation, and one with trills
1717 explicitly expanded:
1719 @lilypond[verbatim,quote]
1720 music = \relative g' {
1722 \tag #'trills { d8.\trill }
1723 \tag #'expand { \repeat unfold 3 { e32 d } }
1728 \keepWithTag #'trills \music
1731 \keepWithTag #'expand \music
1736 Alternatively, it is sometimes easier to exclude sections of music:
1738 @lilypond[verbatim,quote]
1739 music = \relative g' {
1741 \tag #'trills { d8.\trill }
1742 \tag #'expand {\repeat unfold 3 { e32 d } }
1747 \removeWithTag #'expand
1751 \removeWithTag #'trills
1756 Tagged filtering can be applied to articulations, texts, etc. by
1760 -\tag #'@var{your-tag}
1763 to an articulation. For example, this would define a note with a
1764 conditional fingering indication and a note with a conditional
1769 c1-\tag #'warn ^"Watch!"
1772 Multiple tags may be placed on expressions with multiple
1773 @code{\tag} entries:
1775 @lilypond[quote,verbatim]
1776 music = \relative c'' {
1777 \tag #'a \tag #'both { a4 a a a }
1778 \tag #'b \tag #'both { b4 b b b }
1781 \keepWithTag #'a \music
1782 \keepWithTag #'b \music
1783 \keepWithTag #'both \music
1787 Multiple @code{\removeWithTag} filters may be applied to a single
1788 music expression to remove several differently named tagged sections:
1790 @lilypond[verbatim,quote]
1791 music = \relative c'' {
1792 \tag #'A { a4 a a a }
1793 \tag #'B { b4 b b b }
1794 \tag #'C { c4 c c c }
1795 \tag #'D { d4 d d d }
1804 Two or more @code{\keepWithTag} filters applied to a single music
1805 expression will cause @emph{all} tagged sections to be removed, as
1806 the first filter will remove all tagged sections except the one
1807 named, and the second filter will remove even that tagged section.
1809 Sometimes you want to splice some music at a particular place in an
1810 existing music expression. You can use @code{\pushToTag} and
1811 @code{\appendToTag} for adding material at the front or end of the
1812 @code{elements} of an existing music construct. Not every music
1813 construct has @code{elements}, but sequential and simultaneous music are
1816 @lilypond[verbatim,quote]
1817 test = { \tag #'here { \tag #'here <<c''>> } }
1820 \pushToTag #'here c'
1821 \pushToTag #'here e'
1822 \pushToTag #'here g' \test
1823 \appendToTag #'here c'
1824 \appendToTag #'here e'
1825 \appendToTag #'here g' \test
1829 Both commands get a tag, the material to splice in at every occurence of
1830 the tag, and the tagged expression. The commands make sure to
1831 copy everything that they change so that the original @code{\test}
1832 retains its meaning.
1836 @rlearning{Organizing pieces with variables}.
1839 @ref{Automatic part combining},
1840 @ref{Including LilyPond files}.
1843 @c This warning is more general than this placement implies.
1844 @c Rests are not merged whether or not they come from tagged sections.
1845 @c Should be deleted? -td
1848 Multiple rests are not merged if you create a score with more
1849 than one tagged section at the same place.
1854 @node Using global settings
1855 @unnumberedsubsubsec Using global settings
1857 @cindex include-settings
1859 Global settings can be included from a separate file:
1862 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
1865 Groups of settings such as page size, font or type face can be stored
1866 in separate files. This allows different editions from the same score
1867 as well as standard settings to be applied to many scores, simply by
1868 specifying the proper settings file.
1870 This technique also works well with the use of style sheets, as
1871 discussed in @rlearning{Style sheets}.
1875 @rlearning{Organizing pieces with variables},
1876 @rlearning{Style sheets}.
1879 @ref{Including LilyPond files}.
1882 @node Special characters
1883 @subsection Special characters
1885 @cindex special characters
1886 @cindex non-ASCII characters
1896 @unnumberedsubsubsec Text encoding
1900 LilyPond uses the character repertoire defined by the Unicode
1901 consortium and ISO/IEC 10646. This defines a unique name and
1902 code point for the character sets used in virtually all modern
1903 languages and many others too. Unicode can be implemented using
1904 several different encodings. LilyPond uses the UTF-8 encoding
1905 (UTF stands for Unicode Transformation Format) which represents
1906 all common Latin characters in one byte, and represents other
1907 characters using a variable length format of up to four bytes.
1909 The actual appearance of the characters is determined by the
1910 glyphs defined in the particular fonts available - a font defines
1911 the mapping of a subset of the Unicode code points to glyphs.
1912 LilyPond uses the Pango library to layout and render multi-lingual
1915 LilyPond does not perform any input-encoding conversions. This
1916 means that any text, be it title, lyric text, or musical
1917 instruction containing non-ASCII characters, must be encoded in
1918 UTF-8. The easiest way to enter such text is by using a
1919 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1920 popular modern editors have UTF-8 support, for example, vim, Emacs,
1921 jEdit, and GEdit do. All MS Windows systems later than NT use
1922 Unicode as their native character encoding, so even Notepad can
1923 edit and save a file in UTF-8 format. A more functional
1924 alternative for Windows is BabelPad.
1926 If a LilyPond input file containing a non-ASCII character is not
1927 saved in UTF-8 format the error message
1930 FT_Get_Glyph_Name () error: invalid argument
1935 Here is an example showing Cyrillic, Hebrew and Portuguese
1939 %c No verbatim here as the code does not display correctly in PDF
1941 bulgarian = \lyricmode {
1942 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1946 hebrew = \lyricmode {
1947 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1951 portuguese = \lyricmode {
1952 à vo -- cê uma can -- ção legal
1958 \addlyrics { \bulgarian }
1959 \addlyrics { \hebrew }
1960 \addlyrics { \portuguese }
1965 @unnumberedsubsubsec Unicode
1969 To enter a single character for which the Unicode code point is
1970 known but which is not available in the editor being used, use
1971 either @code{\char ##xhhhh} or @code{\char #dddd} within a
1972 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
1973 the character required and @code{dddd} is the corresponding decimal
1974 value. Leading zeroes may be omitted, but it is usual to specify
1975 all four characters in the hexadecimal representation. (Note that
1976 the UTF-8 encoding of the code point should @emph{not} be used
1977 after @code{\char}, as UTF-8 encodings contain extra bits indicating
1978 the number of octets.) Unicode code charts and a character name
1979 index giving the code point in hexadecimal for any character can be
1980 found on the Unicode Consortium website,
1981 @uref{http://www.unicode.org/}.
1983 For example, @code{\char ##x03BE} and @code{\char #958} would both
1984 enter the Unicode U+03BE character, which has the Unicode name
1985 @qq{Greek Small Letter Xi}.
1987 Any Unicode code point may be entered in this way and if all special
1988 characters are entered in this format it is not necessary to save
1989 the input file in UTF-8 format. Of course, a font containing all
1990 such encoded characters must be installed and available to LilyPond.
1992 The following example shows Unicode hexadecimal values being entered
1993 in four places -- in a rehearsal mark, as articulation text, in
1994 lyrics and as stand-alone text below the score:
1996 @lilypond[quote,verbatim]
1999 c1 \mark \markup { \char ##x03EE }
2000 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
2002 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
2004 \markup { "Copyright 2008--2012" \char ##x00A9 }
2007 @cindex copyright sign
2009 To enter the copyright sign in the copyright notice use:
2013 copyright = \markup @{ \char ##x00A9 "2008" @}
2019 @unnumberedsubsubsec ASCII aliases
2021 A list of ASCII aliases for special characters can be included:
2023 @lilypond[quote,verbatim]
2025 #(include-special-characters)
2028 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2031 \new Staff { \repeat unfold 9 a'4 }
2033 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2038 "The replacement can be disabled:"
2039 "– &OE; …"
2040 \override #'(replacement-alist . ()) "– &OE; …"
2044 You can also make your own aliases, either globally:
2046 @lilypond[quote,verbatim]
2048 #(add-text-replacements!
2049 '(("100" . "hundred")
2050 ("dpi" . "dots per inch")))
2052 \markup "A 100 dpi."
2057 @lilypond[quote,verbatim]
2058 \markup \replace #'(("100" . "hundred")
2059 ("dpi" . "dots per inch")) "A 100 dpi."
2064 @ref{List of special characters}.
2067 @file{ly/text-replacements.ly}.
2070 @node Controlling output
2071 @section Controlling output
2074 * Extracting fragments of music::
2075 * Skipping corrected music::
2076 * Alternative output formats::
2077 * Replacing the notation font::
2080 @node Extracting fragments of music
2081 @subsection Extracting fragments of music
2083 It is possible to quote small fragments of a large score directly from
2084 the output. This can be compared to clipping a piece of a paper score
2087 This is done by defining the measures that need to be cut out
2088 separately. For example, including the following definition
2096 (make-rhythmic-location 5 1 2)
2097 (make-rhythmic-location 7 3 4)))
2102 will extract a fragment starting halfway the fifth measure, ending in
2103 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
2104 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
2106 More clip regions can be defined by adding more pairs of
2107 rhythmic-locations to the list.
2109 In order to use this feature, LilyPond must be invoked with
2110 @option{-dclip-systems}. The clips are output as EPS files, and are
2111 converted to PDF and PNG if these formats are switched on as well.
2113 For more information on output formats, see @rprogram{Invoking lilypond}.
2115 @node Skipping corrected music
2116 @subsection Skipping corrected music
2119 @funindex skipTypesetting
2120 @funindex showFirstLength
2121 @funindex showLastLength
2123 When entering or copying music, usually only the music near the end (where
2125 are adding notes) is interesting to view and correct. To speed up
2126 this correction process, it is possible to skip typesetting of all but
2127 the last few measures. This is achieved by putting
2130 showLastLength = R1*5
2135 in your source file. This will render only the last 5 measures
2136 (assuming 4/4 time signature) of every @code{\score} in the input
2137 file. For longer pieces, rendering only a small part is often an order
2138 of magnitude quicker than rendering it completely. When working on the
2139 beginning of a score you have already typeset (e.g. to add a new part),
2140 the @code{showFirstLength} property may be useful as well.
2142 Skipping parts of a score can be controlled in a more fine-grained
2143 fashion with the property @code{Score.skipTypesetting}. When it is
2144 set, no typesetting is performed at all.
2146 This property is also used to control output to the MIDI file. Note that
2147 it skips all events, including tempo and instrument changes. You have
2150 @lilypond[quote,relative=2,ragged-right,verbatim]
2152 \set Score.skipTypesetting = ##t
2154 \set Score.skipTypesetting = ##f
2158 In polyphonic music, @code{Score.skipTypesetting} will affect all
2159 voices and staves, saving even more time.
2161 @node Alternative output formats
2162 @subsection Alternative output formats
2164 @cindex scalable vector graphics output
2166 @cindex encapsulated postscript output
2169 The default output formats for the printed score are Portable
2170 Document Format (PDF) and PostScript (PS). Scalable Vector
2171 Graphics (SVG), Encapsulated PostScript (EPS) and Portable
2172 Network Graphics (PNG) output formats are also available through
2173 command line options, see
2174 @rprogram{Basic command line options for LilyPond}.
2177 @node Replacing the notation font
2178 @subsection Replacing the notation font
2180 Gonville is an alternative to the Feta font used in LilyPond and can
2183 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2186 Here are a few sample bars of music set in Gonville:
2188 @c NOTE: these images are a bit big, but that's important
2189 @c for the font comparison. -gp
2190 @sourceimage{Gonville_after,,,}
2192 Here are a few sample bars of music set in LilyPond's Feta font:
2194 @sourceimage{Gonville_before,,,}
2196 @subsubheading Installation Instructions for MacOS
2198 Download and extract the zip file. Copy the @code{lilyfonts}
2199 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2200 information, see @rlearning{Other sources of information}. Rename the
2201 existing @code{fonts} directory to @code{fonts_orig} and the
2202 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2203 reverse the process.
2207 @rlearning{Other sources of information}.
2210 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2211 likely newer glyphs in later releases of LilyPond may not exist in the
2212 Gonville font family. Please refer to the author's website for more
2213 information on these and other specifics, including licensing of
2218 @section MIDI output
2223 MIDI (Musical Instrument Digital Interface) is a standard for
2224 connecting and controlling digital instruments. A MIDI file is a
2225 series of notes in a number of tracks. It is not an actual
2226 sound file; you need special software to translate between the
2227 series of notes and actual sounds.
2229 Pieces of music can be converted to MIDI files, so you can listen to
2230 what was entered. This is convenient for checking the music; octaves
2231 that are off or accidentals that were mistyped stand out very much
2232 when listening to the MIDI output.
2234 Standard MIDI oputput is somewhat crude; optionally, an enhanced and
2235 more realistic MIDI output is available by means of
2236 @ref{The Articulate script}.
2238 The MIDI output allocates a channel for each staff, and reserves channel
2239 10 for drums. There are only 16 MIDI channels per device, so if the
2240 score contains more than 15 staves, MIDI channels will be reused.
2243 * Creating MIDI files::
2245 * What goes into the MIDI output?::
2247 * Controlling MIDI dynamics::
2248 * Percussion in MIDI::
2249 * The Articulate script::
2252 @node Creating MIDI files
2253 @subsection Creating MIDI files
2255 To create a MIDI output file from a LilyPond input file, add a
2256 @code{\midi} block to a score, for example,
2265 If there is a @code{\midi} block in a @code{\score} with no
2266 @code{\layout} block, only MIDI output will be produced. When
2267 notation is needed too, a @code{\layout} block must also be
2278 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
2279 and translated correctly to the MIDI output. Dynamic marks,
2280 crescendi and decrescendi translate into MIDI volume levels.
2281 Dynamic marks translate to a fixed fraction of the available MIDI
2282 volume range. Crescendi and decrescendi make the volume vary
2283 linearly between their two extremes. The effect of dynamic markings
2284 on the MIDI output can be removed completely, see @ref{MIDI block}.
2286 The initial tempo and later tempo changes can be specified
2287 with the @code{\tempo} command within the music notation. These
2288 are reflected in tempo changes in the MIDI output. This command
2289 will normally result in the metronome mark being printed, but this
2290 can be suppressed, see @ref{Metronome marks}. An alternative way
2291 of specifying the initial or overall MIDI tempo is described below,
2292 see @ref{MIDI block}.
2294 Due to some limitations on Windows, the default extension for
2295 MIDI files on Windows is @code{.mid}. Other operating systems still
2296 use the extension @code{.midi}. If a different extension is preferred,
2297 insert the following line at the top-level of the input file,
2298 before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
2301 #(ly:set-option 'midi-extension "midi")
2304 The line above will set the default extension for MIDI files to
2307 Alternatively, this option can also be supplied on the command line:
2310 lilypond … -dmidi-extension=midi lilyFile.ly
2314 @unnumberedsubsubsec Instrument names
2316 @cindex instrument names
2317 @funindex Staff.midiInstrument
2319 The MIDI instrument to be used is specified by setting the
2320 @code{Staff.midiInstrument} property to the instrument name.
2321 The name should be chosen from the list in @ref{MIDI instruments}.
2325 \set Staff.midiInstrument = #"glockenspiel"
2331 \new Staff \with @{midiInstrument = #"cello"@} @{
2336 If the selected instrument does not exactly match an instrument from
2337 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
2343 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2344 {changing-midi-output-to-one-channel-per-voice.ly}
2348 @c In 2.11 the following no longer seems to be a problem -td
2350 Unterminated (de)crescendos will not render properly in the midi file,
2351 resulting in silent passages of music. The workaround is to explicitly
2352 terminate the (de)crescendo. For example,
2359 will not work properly but
2362 @{ a4\< b c d\!\f @}
2369 Changes in the MIDI volume take place only on starting a note, so
2370 crescendi and decrescendi cannot affect the volume of a
2373 Not all midi players correctly handle tempo changes in the midi
2374 output. Players that are known to work include MS Windows Media
2375 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
2378 @subsection MIDI block
2381 A @code{\midi} block must appear within a score block if MIDI output
2382 is required. It is analogous to the layout block, but somewhat
2383 simpler. Often, the @code{\midi} block is left empty, but it
2384 can contain context rearrangements, new context definitions or code
2385 to set the values of properties. For example, the following will
2386 set the initial tempo exported to a MIDI file without causing a tempo
2387 indication to be printed:
2398 In this example the tempo is set to 72 quarter note
2399 beats per minute. @code{\tempo} is actually a music command for
2400 setting properties during the interpretation of music: in the
2401 context of output definitions like a @code{\midi} block, as a matter of
2402 courtesy those are reinterpreted as if they were context modifications.
2404 @cindex MIDI context definitions
2406 Context definitions follow precisely the same syntax as those
2407 within a @code{\layout} block. Translation modules for sound are
2408 called performers. The contexts for MIDI output are defined in
2409 @file{../ly/performer-init.ly},
2410 see @rlearning{Other sources of information}.
2411 For example, to remove the effect of dynamics
2412 from the MIDI output, insert the following lines in the
2413 @code{\midi@{ @}} block.
2420 \remove "Dynamic_performer"
2425 MIDI output is created only when a @code{\midi} block is included
2426 within a score block defined with a @code{\score} command.
2430 @{ @dots{}notes@dots{} @}
2435 @node What goes into the MIDI output?
2436 @subsection What goes into the MIDI output?
2438 @c TODO Check grace notes - timing is suspect?
2440 @unnumberedsubsubsec Supported in MIDI
2442 @cindex Pitches in MIDI
2443 @cindex MIDI, Pitches
2444 @cindex Quarter tones in MIDI
2445 @cindex MIDI, quarter tones
2446 @cindex Microtones in MIDI
2447 @cindex MIDI, microtones
2448 @cindex Chord names in MIDI
2449 @cindex MIDI, chord names
2450 @cindex Rhythms in MIDI
2451 @cindex MIDI, Rhythms
2452 @cindex Articlulate scripts
2453 @cindex MIDI, articulations
2454 @cindex articulations in MIDI
2455 @cindex trills in MIDI
2456 @cindex turns in MIDI
2457 @cindex rallentando in MIDI
2458 @cindex accelerando in MIDI
2461 The following items of notation are reflected in the MIDI output:
2465 @item Microtones (See @ref{Accidentals}. Rendering needs a
2466 player that supports pitch bend.)
2467 @item Chords entered as chord names
2468 @item Rhythms entered as note durations, including tuplets
2469 @item Tremolos entered without @q{@code{:}[@var{number}]}
2472 @item Crescendi, decrescendi over multiple notes
2473 @item Tempo changes entered with a tempo marking
2477 Using @ref{The Articulate script}, a number of items are added to the
2481 @item Articulations (slurs, staccato, etc)
2483 @item Rallentando and accelerando
2487 @unnumberedsubsubsec Unsupported in MIDI
2489 @c TODO index as above
2491 The following items of notation have no effect on the MIDI output,
2492 unless you use @ref{The Articulate script}:
2495 @item Rhythms entered as annotations, e.g. swing
2496 @item Tempo changes entered as annotations with no tempo marking
2497 @item Staccato and other articulations and ornamentations
2498 @item Slurs and Phrasing slurs
2499 @item Crescendi, decrescendi over a single note
2500 @item Tremolos entered with @q{@code{:}[@var{number}]}
2502 @item Microtonal chords
2506 @node Repeats in MIDI
2507 @subsection Repeats in MIDI
2509 @cindex repeats in MIDI
2510 @funindex \unfoldRepeats
2512 With a few minor additions, all types of repeats can be represented
2513 in the MIDI output. This is achieved by applying the
2514 @code{\unfoldRepeats} music function. This function changes all
2515 repeats to unfold repeats.
2517 @lilypond[quote,verbatim]
2519 \repeat tremolo 8 { c'32 e' }
2520 \repeat percent 2 { c''8 d'' }
2521 \repeat volta 2 { c'4 d' e' f' }
2530 In scores containing multiple voices, unfolding of repeats in MIDI
2531 output will only occur correctly if @emph{each} voice contains fully
2532 notated repeat indications.
2534 When creating a score file using @code{\unfoldRepeats} for MIDI,
2535 it is necessary to make two @code{\score} blocks: one for MIDI
2536 (with unfolded repeats) and one for notation (with volta, tremolo,
2537 and percent repeats). For example,
2545 \unfoldRepeats @var{..music..}
2550 @node Controlling MIDI dynamics
2551 @subsection Controlling MIDI dynamics
2553 MIDI dynamics are implemented by the Dynamic_performer which lives
2554 by default in the Voice context. It is possible to control the
2555 overall MIDI volume, the relative volume of dynamic markings and
2556 the relative volume of different instruments.
2558 @unnumberedsubsubsec Dynamic marks
2560 Dynamic marks are translated to a fixed fraction of the available
2561 MIDI volume range. The default fractions range from 0.25 for
2562 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
2563 marks and the associated fractions can be seen in
2564 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
2565 This set of fractions may be changed or extended by providing a
2566 function which takes a dynamic mark as its argument and returns the
2567 required fraction, and setting
2568 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
2570 For example, if a @notation{rinforzando} dynamic marking,
2571 @code{\rfz}, is required, this will not by default
2572 have any effect on the MIDI volume, as this dynamic marking is not
2573 included in the default set. Similarly, if a new dynamic marking
2574 has been defined with @code{make-dynamic-script} that too will not
2575 be included in the default set. The following example shows how the
2576 MIDI volume for such dynamic markings might be added. The Scheme
2577 function sets the fraction to 0.9 if a dynamic mark of rfz is
2578 found, or calls the default function otherwise.
2580 @lilypond[verbatim,quote]
2581 #(define (myDynamics dynamic)
2582 (if (equal? dynamic "rfz")
2584 (default-dynamic-absolute-volume dynamic)))
2588 \set Staff.midiInstrument = #"cello"
2589 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
2601 Alternatively, if the whole table of fractions needs to be
2602 redefined, it would be better to use the
2603 @notation{default-dynamic-absolute-volume} procedure in
2604 @file{../scm/midi.scm} and the associated table as a model.
2605 The final example in this section shows how this might be done.
2607 @unnumberedsubsubsec Overall MIDI volume
2609 The minimum and maximum overall volume of MIDI dynamic markings is
2610 controlled by setting the properties @code{midiMinimumVolume} and
2611 @code{midiMaximumVolume} at the @code{Score} level. These
2612 properties have an effect only on dynamic marks, so if they
2613 are to apply from the start of the score a dynamic mark must be
2614 placed there. The fraction corresponding to each dynamic mark is
2615 modified with this formula
2618 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
2621 In the following example the dynamic range of the overall MIDI
2622 volume is limited to the range 0.2 - 0.5.
2624 @lilypond[verbatim,quote]
2630 \set Staff.midiInstrument = #"flute"
2631 \new Voice \relative c''' {
2639 \set Staff.midiInstrument = #"clarinet"
2640 \new Voice \relative c'' {
2652 midiMinimumVolume = #0.2
2653 midiMaximumVolume = #0.5
2659 @unnumberedsubsubsec Equalizing different instruments (i)
2661 If the minimum and maximum MIDI volume properties are set in
2662 the @code{Staff} context the relative volumes of the MIDI
2663 instruments can be controlled. This gives a basic instrument
2664 equalizer, which can enhance the quality of the MIDI output
2667 In this example the volume of the clarinet is reduced relative
2668 to the volume of the flute. There must be a dynamic
2669 mark on the first note of each instrument for this to work
2672 @lilypond[verbatim,quote]
2678 \set Staff.midiInstrument = #"flute"
2679 \set Staff.midiMinimumVolume = #0.7
2680 \set Staff.midiMaximumVolume = #0.9
2681 \new Voice \relative c''' {
2689 \set Staff.midiInstrument = #"clarinet"
2690 \set Staff.midiMinimumVolume = #0.3
2691 \set Staff.midiMaximumVolume = #0.6
2692 \new Voice \relative c'' {
2706 @unnumberedsubsubsec Equalizing different instruments (ii)
2708 If the MIDI minimum and maximum volume properties are not set
2709 LilyPond will, by default, apply a small degree of equalization
2710 to a few instruments. The instruments and the equalization
2711 applied are shown in the table @notation{instrument-equalizer-alist}
2712 in @file{../scm/midi.scm}.
2714 This basic default equalizer can be replaced by setting
2715 @code{instrumentEqualizer} in the @code{Score} context to a new
2716 Scheme procedure which accepts a MIDI instrument name as its only
2717 argument and returns a pair of fractions giving the minimum and
2718 maximum volumes to be applied to that instrument. This replacement
2719 is done in the same way as shown for resetting the
2720 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
2721 The default equalizer, @notation{default-instrument-equalizer}, in
2722 @file{../scm/midi.scm} shows how such a procedure might be written.
2724 The following example sets the relative flute and clarinet volumes
2725 to the same values as the previous example.
2727 @lilypond[verbatim,quote]
2728 #(define my-instrument-equalizer-alist '())
2730 #(set! my-instrument-equalizer-alist
2733 ("flute" . (0.7 . 0.9))
2734 ("clarinet" . (0.3 . 0.6)))
2735 my-instrument-equalizer-alist))
2737 #(define (my-instrument-equalizer s)
2738 (let ((entry (assoc s my-instrument-equalizer-alist)))
2747 \set Score.instrumentEqualizer = #my-instrument-equalizer
2748 \set Staff.midiInstrument = #"flute"
2749 \new Voice \relative c''' {
2757 \set Staff.midiInstrument = #"clarinet"
2758 \new Voice \relative c'' {
2773 @c Delete when satisfied this is adequately covered elsewhere -td
2775 @n ode Microtones in MIDI
2776 @s ubsection Microtones in MIDI
2778 @cindex microtones in MIDI
2780 Microtones consisting of half sharps and half flats are exported
2781 to the MIDI file and render correctly in MIDI players which support
2782 pitch bending. See @ref{Note names in other languages}. Here is
2783 an example showing all the half sharps and half flats. It can be
2784 copied out and compiled to test microtones in your MIDI player.
2786 @lilypond[verbatim,quote]
2803 @node Percussion in MIDI
2804 @subsection Percussion in MIDI
2806 Percussion instruments are generally notated in a @code{DrumStaff}
2807 context and when notated in this way they are outputted correctly
2808 to MIDI channel@tie{}10, but some pitched percussion instruments,
2809 like the xylophone, marimba, vibraphone, timpani, etc., are
2810 treated like @qq{normal} instruments and music for these instruments
2811 should be entered in a normal @code{Staff} context, not a
2812 @code{DrumStaff} context, to obtain the correct MIDI output.
2814 Some non-pitched percussion sounds included in the general MIDI
2815 standard, like melodic tom, taiko drum, synth drum, etc., cannot
2816 be reached via MIDI channel@tie{}10, so the notation for such
2817 instruments should also be entered in a normal @code{Staff}
2818 context, using suitable normal pitches.
2820 Many percussion instruments are not included in the general MIDI
2821 standard, e.g. castanets. The easiest, although unsatisfactory,
2822 method of producing some MIDI output when writing for such
2823 instruments is to substitute the nearest sound from the standard
2826 @c TODO Expand with examples, and any other issues
2830 Because the general MIDI standard does not contain rim shots, the
2831 sidestick is used for this purpose instead.
2833 @node The Articulate script
2834 @subsection The Articulate script
2836 A more realistic MIDI output is possible when using the Articulate
2837 script. It tries to take articulations (slurs, staccato, etc) into
2838 account, by replacing notes with sequential music of suitably
2839 time-scaled note plus skip. It also tries to unfold trills turns
2840 etc., and take rallentando and accelerando into account.
2842 To use the Articulate script, you have to include it at the top of
2846 \include "articulate.ly"
2849 and in the @code{\score} section do
2852 \unfoldRepeats \articulate <<
2853 all the rest of the score...
2857 After altering your input file this way, the visual output is heavily
2858 altered, but the standard @code{\midi} block will produce a better
2861 Although not essential for the Articulate script to work, you may want
2862 to insert the @code{\unfoldRepeats} command as it appears in the
2863 example shown above as it enables performing abbreviatures such as
2868 Articulate shortens chords and some music (esp. organ music) could
2872 @node Extracting musical information
2873 @section Extracting musical information
2875 In addition to creating graphical output and MIDI, LilyPond can
2876 display musical information as text.
2879 * Displaying LilyPond notation::
2880 * Displaying scheme music expressions::
2881 * Saving music events to a file::
2884 @node Displaying LilyPond notation
2885 @subsection Displaying LilyPond notation
2887 @funindex \displayLilyMusic
2888 Displaying a music expression in LilyPond notation can be
2889 done with the music function @code{\displayLilyMusic}. To see the
2890 output, you will typically want to call LilyPond using the command
2895 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2902 @{ a,4 cis e fis g @}
2905 By default, LilyPond will print these messages to the console
2906 along with all the other LilyPond compilation messages. To split
2907 up these messages and save the results of @code{\display@{STUFF@}},
2908 redirect the output to a file.
2911 lilypond file.ly >display.txt
2915 Note that Lilypond does not just display the music expression, but
2916 also interprets it (since @code{\displayLilyMusic} returns it in
2917 addition to displaying it). This is convenient since you can just
2918 insert @code{\displayLilyMusic} into existing music in order to get
2919 information about it. If you don't actually want Lilypond to
2920 interpret the displayed music as well as display it, use @code{\void}
2921 in order to have it ignored:
2925 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
2930 @node Displaying scheme music expressions
2931 @subsection Displaying scheme music expressions
2933 See @rextend{Displaying music expressions}.
2936 @node Saving music events to a file
2937 @subsection Saving music events to a file
2939 Music events can be saved to a file on a per-staff basis by
2940 including a file in your main score.
2943 \include "event-listener.ly"
2946 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
2947 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
2948 you have multiple unnamed staves, the events for all staves will
2949 be mixed together in the same file. The output looks like this:
2952 0.000 note 57 4 p-c 2 12
2954 0.250 note 62 4 p-c 7 12
2955 0.500 note 66 8 p-c 9 12
2956 0.625 note 69 8 p-c 14 12
2961 The syntax is a tab-delimited line, with two fixed fields on each
2962 line followed by optional parameters.
2965 @var{time} @var{type} @var{...params...}
2968 This information can easily be read into other programs such as
2969 python scripts, and can be very useful for researchers wishing to
2970 perform musical analysis or playback experiments with LilyPond.
2975 Not all lilypond music events are supported by
2976 @file{event-listener.ly}. It is intended to be a well-crafted
2977 @qq{proof of concept}. If some events that you want to see are
2978 not included, copy @file{event-listener.ly} into your lilypond
2979 directory and modify the file so that it outputs the information