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::
24 * Creating MIDI 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{%@{ @dots{} %@}} 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,
136 @var{@dots{}music@dots{}}
140 and texts are entered with a @code{\markup} block,
144 @var{@dots{}text@dots{}}
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 @dots{}text of second verse@dots{}
188 @dots{}text of third verse@dots{}
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
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 outputs 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"
294 \bookOutputSuffix "Menuetto"
299 \bookOutputSuffix "Nocturne"
305 You can also specify a different output filename for @code{book} block,
306 by using @code{\bookOutputName} declarations
310 \bookOutputName "Romanze"
315 \bookOutputName "Menuetto"
320 \bookOutputName "Nocturne"
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 the same type
357 is entered at the top level the definitions are combined, but in
358 conflicting situations the later definitions take precedence. For
359 details of how this affects the @code{\layout} block see
360 @ref{The layout block,,The @code{@bs{}layout} block}.
363 A direct scheme expression, such as
364 @code{#(set-default-paper-size "a7" 'landscape)} or
365 @code{#(ly:set-option 'point-and-click #f)}.
368 A @code{\header} block. This sets the global (i.e. the top of
369 file) header block. This is the block containing the default
370 settings of titling fields like composer, title, etc. for all
371 books within the file (see @ref{Titles explained}).
374 A @code{\score} block. This score will be collected with other
375 toplevel scores, and combined as a single @code{\book}.
376 This behavior can be changed by setting the variable
377 @code{toplevel-score-handler} at toplevel. The default handler is
378 defined in the init file @file{../scm/lily.scm}.
381 A @code{\book} block logically combines multiple movements
382 (i.e., multiple @code{\score} blocks) in one document. If there
383 are a number of @code{\score}s, one output file will be created
384 for each @code{\book} block, in which all corresponding movements
385 are concatenated. The only reason to explicitly specify
386 @code{\book} blocks in a @file{.ly} file is if you wish to create
387 multiple output files from a single input file. One exception is
388 within lilypond-book documents, where you explicitly have to add
389 a @code{\book} block if you want more than a single @code{\score}
390 or @code{\markup} in the same example. This behavior can be
391 changed by setting the variable @code{toplevel-book-handler} at
392 toplevel. The default handler is defined in the init file
393 @file{../scm/lily.scm}.
396 A @code{\bookpart} block. A book may be divided into several parts,
397 using @code{\bookpart} blocks, in order to ease the page breaking,
398 or to use different @code{\paper} settings in different parts.
401 A compound music expression, such as
406 This will add the piece in a @code{\score} and format it in a
407 single book together with all other toplevel @code{\score}s and music
408 expressions. In other words, a file containing only the above
409 music expression will be translated into
426 This behavior can be changed by setting the variable
427 @code{toplevel-music-handler} at toplevel. The default handler is
428 defined in the init file @file{../scm/lily.scm}.
431 A markup text, a verse for example
434 2. The first line verse two.
438 Markup texts are rendered above, between or below the scores or music
439 expressions, wherever they appear.
449 This can be used later on in the file by entering @code{\foo}. The
450 name of a variable should have alphabetic characters only; no
451 numbers, underscores or dashes.
455 The following example shows three things that may be entered at
460 % Don't justify the output
472 At any point in a file, any of the following lexical instructions can
476 @item @code{\version}
477 @item @code{\include}
478 @item @code{\sourcefilename}
479 @item @code{\sourcefileline}
481 A single-line comment, introduced by a leading @code{%} sign.
484 A multi-line comment delimited by @code{%@{ @dots{} %@}}.
490 Whitespace between items in the input stream is generally ignored,
491 and may be freely omitted or extended to enhance readability.
492 However, whitespace should always be used in the following
493 circumstances to avoid errors:
497 @item Around every opening and closing curly bracket.
499 @item After every command or variable, i.e. every item that
500 begins with a @code{\} sign.
502 @item After every item that is to be interpreted as a Scheme
503 expression, i.e. every item that begins with a @code{#}@tie{}sign.
505 @item To separate all elements of a Scheme expression.
507 @item In @code{lyricmode} before and after @code{\set} and
508 @code{\override} commands.
514 @rlearning{How LilyPond input files work}.
517 @ref{Titles explained},
518 @ref{The layout block,,The @code{@bs{}layout} block}.
521 @node Titles and headers
522 @section Titles and headers
528 Almost all printed music includes a title and the composer's name;
529 some pieces include a lot more information.
532 * Creating titles headers and footers::
533 * Custom titles headers and footers::
534 * Creating PDF metadata::
535 * Creating footnotes::
536 * Reference to page numbers::
537 * Table of contents::
541 @node Creating titles headers and footers
542 @subsection Creating titles headers and footers
546 * Default layout of bookpart and score titles::
547 * Default layout of headers and footers::
551 @node Titles explained
552 @unnumberedsubsubsec Titles explained
554 Each @code{\book} block in a single input file produces a separate
555 output file, see @ref{File structure}. Within each output file
556 three types of titling areas are provided: @emph{Book Titles} at the
557 beginning of each book, @emph{Bookpart Titles} at the beginning of
558 each bookpart and @emph{Score Titles} at the beginning of each score.
560 Values of titling fields such as @code{title} and @code{composer}
561 are set in @code{\header} blocks. (For the syntax of @code{\header}
562 blocks and a complete list of the fields available by default see
563 @ref{Default layout of bookpart and score titles}). Book Titles,
564 Bookpart Titles and Score Titles can all contain the same fields,
565 although by default the fields in Score Titles are limited to
566 @code{piece} and @code{opus}.
568 @code{\header} blocks may be placed in four different places to form
569 a descending hierarchy of @code{\header} blocks:
574 At the top of the input file, before all @code{\book},
575 @code{\bookpart}, and @code{\score} blocks.
578 Within a @code{\book} block but outside all the @code{\bookpart} and
579 @code{\score} blocks within that book.
582 Within a @code{\bookpart} block but outside all @code{\score} blocks
583 within that bookpart.
586 After the music expression in a @code{\score} block.
590 The values of the fields filter down this hierarchy, with the values
591 set higher in the hierarchy persisting unless they are over-ridden
592 by a value set lower in the hierarchy, so:
597 A Book Title is derived from fields set at the top of the input file,
598 modified by fields set in the @code{\book} block. The resulting
599 fields are used to print the Book Title for that book, providing that
600 there is other material which generates a page at the start of the
601 book, before the first bookpart. A single @code{\pageBreak} will
605 A Bookpart Title is derived from fields set at the top of the input
606 file, modified by fields set in the @code{\book} block, and further
607 modified by fields set in the @code{\bookpart} block. The resulting
608 values are used to print the Bookpart Title for that bookpart.
611 A Score Title is derived from fields set at the top of the input
612 file, modified by fields set in the @code{\book} block, further
613 modified by fields set in the @code{\bookpart} block and finally
614 modified by fields set in the @code{\score} block. The resulting
615 values are used to print the Score Title for that score. Note,
616 though, that only @code{piece} and @code{opus} fields are printed
617 by default in Score Titles unless the @code{\paper} variable,
618 @code{print-all-headers}, is set to @code{#t}.
622 @warning{Remember when placing a @bs{}@code{header} block inside a
623 @bs{}@code{score} block, that the music expression must come before the
624 @bs{}@code{header} block.}
626 It is not necessary to provide @code{\header} blocks in all four
627 places: any or even all of them may be omitted. Similarly, simple
628 input files may omit the @code{\book} and @code{\bookpart} blocks,
629 leaving them to be created implicitly.
631 If the book has only a single score, the @code{\header} block should
632 normally be placed at the top of the file so that just a Bookpart
633 Title is produced, making all the titling fields available for use.
635 If the book has multiple scores a number of different arrangements
636 of @code{\header} blocks are possible, corresponding to the various
637 types of musical publications. For example, if the publication
638 contains several pieces by the same composer a @code{\header} block
639 placed at the top of the file specifying the book title and the
640 composer with @code{\header} blocks in each @code{\score} block
641 specifying the @code{piece} and/or @code{opus} would be most
644 @lilypond[papersize=a5,quote,verbatim,noragged-right]
647 composer = "J. S. Bach."
651 \new Staff \relative {
654 \repeat unfold 2 { g,16( d' b') a b d, b' d, } |
655 \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
663 \new Staff \relative {
667 <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
668 d16( b g fis) g( e d c) b(c d e) fis( g a b) |
676 More complicated arrangements are possible. For example, text
677 fields from the @code{\header} block in a book can be displayed in
678 all Score Titles, with some fields over-ridden and some manually
681 @lilypond[papersize=a5,quote,verbatim,noragged-right]
684 print-all-headers = ##t
687 title = "DAS WOHLTEMPERIRTE CLAVIER"
689 % Do not display the default LilyPond footer for this book
692 \markup { \vspace #1 }
696 \new Staff { \clef "bass" s1 }
699 title = "PRAELUDIUM I"
701 % Do not display the subtitle for this score
708 \new Staff { \clef "bass" s1 }
712 subsubtitle = "A 4 VOCI"
714 % Do not display the subtitle for this score
723 @ref{File structure},
724 @ref{Default layout of bookpart and score titles},
725 @ref{Custom layout for titles}.
728 @node Default layout of bookpart and score titles
729 @unnumberedsubsubsec Default layout of bookpart and score titles
731 This example demonstrates all printed @code{\header} variables:
733 @lilypond[papersize=a6landscape,quote,verbatim,noragged-right]
736 % The following fields are centered
737 dedication = "Dedication"
739 subtitle = "Subtitle"
740 subsubtitle = "Subsubtitle"
741 % The following fields are evenly spread on one line
742 % the field "instrument" also appears on following pages
743 instrument = \markup \with-color #green "Instrument"
745 composer = "Composer"
746 % The following fields are placed at opposite ends of the same line
748 arranger = "Arranger"
749 % The following fields are centered at the bottom
750 tagline = "The tagline goes at the bottom of the last page"
751 copyright = "The copyright goes at the bottom of the first page"
756 % The following fields are placed at opposite ends of the same line
764 % The following fields are placed at opposite ends of the same line
765 piece = "Piece 2 on the same page"
773 % The following fields are placed at opposite ends of the same line
774 piece = "Piece 3 on a new page"
785 The instrument name will be repeated on every page.
788 Only @code{piece} and @code{opus} are printed in a @code{\score}
789 when the paper variable @code{print-all-headers} is set to
790 @code{##f} (the default).
793 @c Is the bit about \null markups true? -mp
794 Text fields left unset in a @code{\header} block are replaced with
795 @code{\null} markups so that the space is not wasted.
798 The default settings for @code{scoreTitleMarkup} place the @code{piece}
799 and @code{opus} text fields at opposite ends of the same line.
803 To change the default layout see @ref{Custom layout for titles}.
807 If a @code{\book} block starts immediately with a @code{\bookpart}
808 block, no Book Title will be printed, as there is no page on which
809 to print it. If a Book Title is required, begin the @code{\book}
810 block with some markup material or a @code{\pageBreak} command.
812 Use the @code{breakbefore} variable inside a @code{\header} block
813 that is itself in a @code{\score} block, to make the higher-level
814 @code{\header} block titles appear on the first page on their own, with
815 the music (defined in the @code{\score} block) starting on the next.
817 @lilypond[papersize=c7landscape,verbatim,noragged-right]
820 title = "This is my Title"
821 subtitle = "This is my Subtitle"
822 copyright = "This is the bottom of the first page"
825 \repeat unfold 4 { e'' e'' e'' e'' }
827 piece = "This is the Music"
836 @rlearning{How LilyPond input files work},
839 @ref{Custom layout for titles},
840 @ref{File structure}.
843 @file{ly/titling-init.ly}.
846 @node Default layout of headers and footers
847 @unnumberedsubsubsec Default layout of headers and footers
849 @emph{Headers} and @emph{footers} are lines of text appearing at
850 the top and bottom of pages, separate from the main text of a book.
851 They are controlled by the following @code{\paper} variables:
854 @item @code{oddHeaderMarkup}
855 @item @code{evenHeaderMarkup}
856 @item @code{oddFooterMarkup}
857 @item @code{evenFooterMarkup}
860 These markup variables can only access text fields from top-level
861 @code{\header} blocks (which apply to all scores in the book) and are
862 defined in @file{ly/titling-init.ly}. By default:
867 page numbers are automatically placed on the top far left (if even) or
868 top far right (if odd), starting from the second page.
871 the @code{instrument} text field is placed in the center of every
872 page, starting from the second page.
875 the @code{copyright} text is centered on the bottom of the first page.
878 the @code{tagline} is centered on the bottom of the last page, and below
879 the @code{copyright} text if there is only a single page.
883 The default LilyPond footer text can be changed by adding a
884 @code{tagline} in the top-level @code{\header} block.
886 @lilypond[papersize=a8landscape,verbatim]
889 tagline = "... music notation for Everyone"
899 To remove the default LilyPond footer text, the @code{tagline} can be
903 @node Custom titles headers and footers
904 @subsection Custom titles headers and footers
906 @c TODO: somewhere put a link to header spacing info
907 @c (you'll have to explain it more in NR 4).
910 * Custom text formatting for titles::
911 * Custom layout for titles::
912 * Custom layout for headers and footers::
916 @node Custom text formatting for titles
917 @unnumberedsubsubsec Custom text formatting for titles
919 Standard @code{\markup} commands can be used to customize any header,
920 footer and title text within the @code{\header} block.
922 @lilypond[quote,verbatim,noragged-right]
926 piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
927 opus = \markup { \italic "BWV 846" }
934 @ref{Formatting text}.
937 @node Custom layout for titles
938 @unnumberedsubsubsec Custom layout for titles
940 @cindex bookTitleMarkup
941 @cindex scoreTitleMarkup
942 @funindex bookTitleMarkup
943 @funindex scoreTitleMarkup
945 @code{\markup} commands in the @code{\header} block are useful for
946 simple text formatting, but they do not allow precise control over the
947 placement of titles. To customize the placement of the text fields,
948 change either or both of the following @code{\paper} variables:
951 @item @code{bookTitleMarkup}
952 @item @code{scoreTitleMarkup}
955 The placement of titles when using the default values of these
956 @code{\markup} variables is shown in the examples in
957 @ref{Default layout of bookpart and score titles}.
959 The default settings for @code{scoreTitleMarkup} as defined in
960 @file{ly/titling-init.ly} are:
963 scoreTitleMarkup = \markup @{ \column @{
964 \on-the-fly \print-all-headers @{ \bookTitleMarkup \hspace #1 @}
966 \fromproperty #'header:piece
967 \fromproperty #'header:opus
973 This places the @code{piece} and @code{opus} text fields at opposite
974 ends of the same line:
976 @lilypond[quote,verbatim,noragged-right]
980 piece = "PRAELUDIUM I"
986 This example redefines @code{scoreTitleMarkup} so that the @code{piece}
987 text field is centered and in a large, bold font.
989 @lilypond[papersize=a5,quote,verbatim,noragged-right]
993 scoreTitleMarkup = \markup {
996 \fontsize #4 \bold \fromproperty #'header:piece
997 \fromproperty #'header:opus
1001 \header { tagline = ##f }
1005 piece = "PRAELUDIUM I"
1012 Text fields not normally effective in score @code{\header} blocks
1013 can be printed in the Score Title area if @code{print-all-headers} is
1014 placed inside the @code{\paper} block. A disadvantage of using this
1015 method is that text fields that are intended specifically for the
1016 Bookpart Title area need to be manually suppressed in every
1017 @code{\score} block. See @ref{Titles explained}.
1019 To avoid this, add the desired text field to the @code{scoreTitleMarkup}
1020 definition. In the following example, the @code{composer} text field
1021 (normally associated with @code{bookTitleMarkup}) is added to
1022 @code{scoreTitleMarkup}, allowing each score to list a different
1025 @lilypond[papersize=a5,quote,verbatim,noragged-right]
1029 scoreTitleMarkup = \markup {
1032 \fontsize #4 \bold \fromproperty #'header:piece
1033 \fromproperty #'header:composer
1037 \header { tagline = ##f }
1042 composer = "Christian Petzold"
1049 composer = "François Couperin"
1055 It is also possible to create your own custom text fields, and refer to
1056 them in the markup definition.
1058 @lilypond[papersize=a5,quote,verbatim,noragged-right]
1062 scoreTitleMarkup = \markup {
1065 \override #`(direction . ,UP) {
1067 \center-align \fontsize #-1 \bold
1068 \fromproperty #'header:mycustomtext %% User-defined field
1069 \center-align \fontsize #4 \bold
1070 \fromproperty #'header:piece
1073 \fromproperty #'header:opus
1077 \header { tagline = ##f }
1082 mycustomtext = "A 4 VOCI" %% User-defined field
1091 @ref{Titles explained}.
1094 @node Custom layout for headers and footers
1095 @unnumberedsubsubsec Custom layout for headers and footers
1097 @c can make-header and make-footer be removed from
1098 @c paper-defaults-init.ly? -mp
1100 @code{\markup} commands in the @code{\header} block are useful for
1101 simple text formatting, but they do not allow precise control over the
1102 placement of headers and footers. To customize the placement of
1103 the text fields, use either or both of the following @code{\paper}
1107 @item @code{oddHeaderMarkup}
1108 @item @code{evenHeaderMarkup}
1109 @item @code{oddFooterMarkup}
1110 @item @code{evenFooterMarkup}
1113 @cindex markup, conditional
1115 @funindex \on-the-fly
1117 The @code{\markup} command @code{\on-the-fly} can be used to add
1118 markup conditionally to header and footer text defined within the
1119 @code{\paper} block, using the following syntax:
1122 variable = \markup @{
1124 \on-the-fly \@var{procedure} @var{markup}
1129 The @var{procedure} is called each time the @code{\markup} command
1130 in which it appears is evaluated. The @var{procedure} should test
1131 for a particular condition and interpret (i.e. print) the
1132 @var{markup} argument if and only if the condition is true.
1134 A number of ready-made procedures for testing various conditions are
1138 @multitable {print-page-number-check-first-----} {should this page be printed-----}
1140 @headitem Procedure name @tab Condition tested
1142 @item print-page-number-check-first @tab should this page number be printed?
1143 @item create-page-number-stencil @tab print-page-numbers true?
1144 @item print-all-headers @tab print-all-headers true?
1145 @item first-page @tab first page in the book?
1146 @item (on-page nmbr) @tab page number = nmbr?
1147 @item last-page @tab last page in the book?
1148 @item not-first-page @tab not first page in the book?
1149 @item part-first-page @tab first page in the book part?
1150 @item part-last-page @tab last page in the book part?
1151 @item not-single-page @tab pages in book part > 1?
1156 The following example centers page numbers at the bottom of every
1157 page. First, the default settings for @code{oddHeaderMarkup} and
1158 @code{evenHeaderMarkup} are removed by defining each as a @emph{null}
1159 markup. Then, @code{oddFooterMarkup} is redefined with the page
1160 number centered. Finally, @code{evenFooterMarkup} is given the
1161 same layout by defining it as @code{\oddFooterMarkup}:
1163 @lilypond[papersize=a8,quote,verbatim,noragged-right]
1166 print-page-number = ##t
1167 print-first-page-number = ##t
1168 oddHeaderMarkup = \markup \null
1169 evenHeaderMarkup = \markup \null
1170 oddFooterMarkup = \markup {
1172 \on-the-fly \print-page-number-check-first
1173 \fromproperty #'page:page-number-string
1176 evenFooterMarkup = \oddFooterMarkup
1179 \new Staff { s1 \break s1 \break s1 }
1184 Several @code{\on-the-fly} conditions can be combined with an
1185 @q{and} operation, for example,
1188 \on-the-fly \first-page
1189 \on-the-fly \last-page
1190 @code{@{ \markup @dots{} \fromproperty #'header: @dots{} @}}
1193 determines if the output is a single page.
1197 @ref{Titles explained},
1198 @ref{Default layout of bookpart and score titles}.
1201 @file{../ly/titling-init.ly}.
1203 @node Creating PDF metadata
1204 @subsection Creating PDF metadata
1206 @cindex PDF metadata
1208 In addition to being shown in the printed output, @code{\header} variables
1209 are also used to set PDF metadata (the information displayed by PDF readers
1210 as the @code{properties} of the PDF file). As metadata are applied per
1211 output file, only @code{\header} blocks located at top level or within an
1212 explicit @code{\book} block will be used to generate PDF metadata; while
1213 @code{\header} variables in a @code{\bookpart} or @code{\score} block
1214 will be reflected in the printed output of the respective blocks, the
1215 document-wide PDF metadata will not be affected by headers at that level.
1217 For example, setting the @code{title} property of the @code{header} block
1218 @q{Symphony I} will also give this title to the PDF document.
1222 title = "Symphony I"
1226 If you want to set the title of the printed output to one value, but have the
1227 title property of the PDF to have a different value, you can use
1228 @code{pdftitle}, as below.
1232 title = "Symphony I"
1233 pdftitle = "Symphony I by Beethoven"
1237 The variables @code{title}, @code{subject}, @code{keywords},
1238 @code{subtitle}, @code{composer}, @code{arranger}, @code{poet}, @code{author}
1239 and @code{copyright} all set PDF properties and can all be prefixed with
1240 @q{pdf} to set a PDF property to a value different from the printed output.
1242 The PDF property @code{Creator} is automatically set to @q{LilyPond} plus
1243 the current LilyPond version, and @code{CreationDate} and @code{ModDate} are
1244 both set to the current date and time. @code{ModDate} can be overridden by
1245 setting the header variable @code{moddate} (or @code{pdfmoddate}) to a
1246 valid PDF date string.
1248 @node Creating footnotes
1249 @subsection Creating footnotes
1253 Footnotes may be used in many different situations. In all cases,
1254 a @q{footnote mark} is placed as a reference in text or music, and
1255 the corresponding @q{footnote text} appears at the bottom of the
1258 Footnotes within music expressions and footnotes in stand-alone text
1259 outside music expressions are created in different ways.
1262 * Footnotes in music expressions::
1263 * Footnotes in stand-alone text::
1266 @node Footnotes in music expressions
1267 @unnumberedsubsubsec Footnotes in music expressions
1269 @cindex footnotes in music expressions
1272 @subsubsubheading Music footnotes overview
1274 Footnotes in music expressions fall into two categories:
1277 @item Event-based footnotes
1278 are attached to a particular event. Examples for such events are
1279 single notes, articulations (like fingering indications, accents,
1280 dynamics), and post-events (like slurs and manual beams). The
1281 general form for event-based footnotes is as follows:
1284 [@var{direction}] \footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
1287 @item Time-based footnotes
1288 are bound to a particular point of time in a musical context. Some
1289 commands like @code{\time} and @code{\clef} don't actually use events
1290 for creating objects like time signatures and clefs. Neither does a
1291 chord create an event of its own: its stem or flag is created at the
1292 end of a time step (nominally through one of the note events inside).
1293 Exactly which of a chord's multiple note events will be deemed the
1294 root cause of a stem or flag is undefined. So for annotating those,
1295 time-based footnotes are preferable as well.
1297 A time-based footnote allows such layout objects to be annotated
1298 without referring to an event. The general form for Time-based
1302 \footnote [@var{mark}] @var{offset} @var{footnote} [@var{Context}].@var{GrobName}
1307 The elements for both forms are:
1312 If (and only if) the @code{\footnote} is being applied to a
1313 post-event or articulation, it must be preceded with a direction
1314 indicator (@code{-, _, ^}) in order to attach @var{music} (with
1315 a footnote mark) to the preceding note or rest.
1318 is a markup or string specifying the footnote mark which is used for
1319 marking both the reference point and the footnote itself at the
1320 bottom of the page. It may be omitted (or equivalently replaced with
1321 @code{\default}) in which case a number in sequence will be generated
1322 automatically. Such numerical sequences restart on each page
1323 containing a footnote.
1326 is a number pair such as @samp{#(2 . 1)} specifying the X and
1327 Y@tie{}offsets in units of staff-spaces from the boundary of the
1328 object where the mark should be placed. Positive values of the
1329 offsets are taken from the right/top edge, negative values from the
1330 left/bottom edge and zero implies the mark is centered on the edge.
1333 is the context in which the grob being footnoted is created. It
1334 may be omitted if the grob is in a bottom context, e.g. a
1335 @code{Voice} context.
1338 specifies a type of grob to mark (like @samp{Flag}). If it is
1339 specified, the footnote is not attached to a music expression in
1340 particular, but rather to all grobs of the type specified which
1341 occur at that moment of musical time.
1344 is the markup or string specifying the footnote text to use at the
1348 is the music event or post-event or articulation
1349 that is being annotated.
1353 @subsubsubheading Event-based footnotes
1355 @cindex footnotes, event-based
1357 A footnote may be attached to a layout object directly caused
1358 by the event corresponding to @var{music} with the syntax:
1361 \footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
1364 @lilypond[quote,verbatim,papersize=a8landscape]
1366 \header { tagline = ##f }
1368 \footnote #'(-1 . 3) "A note" a4
1370 \footnote #'(2 . 2) "A rest" r4
1376 Marking a @emph{whole} chord with an event-based footnote is not
1377 possible: a chord, even one containing just a single note, does
1378 not produce an actual event of its own. However, individual
1379 notes @emph{inside} of the chord can be marked:
1381 @lilypond[quote,verbatim,papersize=a8landscape]
1383 \header { tagline = ##f }
1385 \footnote #'(2 . 3) "Does not work" <a-3>2
1386 <\footnote #'(-2 . -3) "Does work" a-3>4
1387 <a-3 \footnote #'(3 . 1/2) "Also works" c-5>4
1392 If the footnote is to be attached to a post-event or articulation
1393 the @code{\footnote} command @emph{must} be preceded by a direction
1394 indicator, @code{-, _, ^}, and followed by the post-event or
1395 articulation to be annotated as the @var{music} argument. In this
1396 form the @code{\footnote} can be considered to be simply a copy of
1397 its last argument with a footnote mark attached to it. The syntax
1401 @var{direction} \footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
1404 @lilypond[quote,verbatim,papersize=a8landscape]
1406 \header { tagline = ##f }
1408 a'4_\footnote #'(0 . -1) "A slur forced down" (
1409 b8^\footnote #'(1 . 0.5) "A manual beam forced up" [
1412 c-\footnote #'(1 . 1) "Tenuto" --
1417 @subsubsubheading Time-based footnotes
1419 @cindex footnotes, time-based
1421 If the layout object being footmarked is @emph{indirectly} caused by
1422 an event (like an @code{Accidental} or @code{Stem} caused by a
1423 @code{NoteHead} event), the @var{GrobName} of the layout object
1424 is required after the footnote text instead of @var{music}:
1426 @lilypond[quote,verbatim,papersize=a8landscape]
1428 \header { tagline = ##f }
1430 \footnote #'(-1 . -3) "A flat" Accidental
1432 \footnote #'(-1 . 0.5) "Another flat" Accidental
1434 \footnote #'(1 . -2) "A stem" Stem
1440 Note, however, that when a GrobName is specified, a footnote
1441 will be attached to all grobs of that type at the current time step:
1443 @lilypond[quote,verbatim,papersize=a8landscape]
1445 \header { tagline = ##f }
1447 \footnote #'(-1 . 3) "A flat" Accidental
1449 \footnote #'(2 . 0.5) "Articulation" Script
1455 A note inside of a chord can be given an individual (event-based)
1456 footnote. A @samp{NoteHead} is the only grob directly caused
1457 from a chord note, so an event-based footnote command is
1458 @emph{only} suitable for adding a footnote to the @samp{NoteHead}
1459 within a chord. All other chord note grobs are indirectly caused.
1460 The @code{\footnote} command itself offers no syntax for
1461 specifying @emph{both} a particular grob type @emph{as well as} a
1462 particular event to attach to. However, one can use a time-based
1463 @code{\footnote} command for specifying the grob type, and then
1464 prefix this command with @code{\single} in order to have it
1465 applied to just the following event:
1467 @lilypond[quote,verbatim,papersize=a8landscape]
1469 \header { tagline = ##f }
1471 < \footnote #'(1 . -2) "An A" a
1472 \single \footnote #'(-1 . -1) "A sharp" Accidental
1474 \single \footnote #'(0.5 . 0.5) "A flat" Accidental
1481 @warning {When footnotes are attached to several musical elements at
1482 the same musical moment, as they are in the example above, the
1483 footnotes are numbered from the higher to the lower elements as they
1484 appear in the printed output, not in the order in which they are
1485 written in the input stream.}
1487 Layout objects like clefs and key-change signatures are mostly caused
1488 as a consequence of changed properties rather than actual events.
1489 Others, like bar lines and bar numbers, are a direct consequence of
1490 timing. For this reason, footnotes on such objects have to be based
1491 on their musical timing. Time-based footnotes are also preferable
1492 when marking features like stems and beams on @emph{chords}: while
1493 such per-chord features are nominally assigned to @emph{one} event
1494 inside the chord, relying on a particular choice would be imprudent.
1496 The layout object in question must always be explicitly specified
1497 for time-based footnotes, and the appropriate context must be
1498 specified if the grob is created in a context other than the bottom
1501 @lilypond[quote,verbatim,papersize=a8landscape]
1503 \header { tagline = ##f }
1506 \footnote #'(-0.5 . -1) "Meter change" Staff.TimeSignature
1508 \footnote #'(1 . -1) "Chord stem" Stem
1510 \footnote #'(-0.5 . 1) "Bar line" Staff.BarLine
1512 \footnote #'(0.5 . -1) "Key change" Staff.KeySignature
1519 Custom marks can be used as alternatives to numerical marks, and the
1520 annotation line joining the marked object to the mark can be
1523 @lilypond[quote,verbatim,papersize=a8landscape]
1525 \header { tagline = ##f }
1527 \footnote "*" #'(0.5 . -2) \markup { \italic "* The first note" } a'4
1529 \footnote \markup { \super "$" } #'(0.5 . 1)
1530 \markup { \super "$" \italic " The second note" } e
1532 \once \override Score.FootnoteItem.annotation-line = ##f
1533 b-\footnote \markup \tiny "+" #'(0.1 . 0.1)
1534 \markup { \super "+" \italic " Editorial" } \p
1539 More examples of custom marks are shown in
1540 @ref{Footnotes in stand-alone text}.
1543 @node Footnotes in stand-alone text
1544 @unnumberedsubsubsec Footnotes in stand-alone text
1546 @cindex footnotes in stand-alone text
1548 These are for use in markup outside of music expressions. They do
1549 not have a line drawn to their point of reference: their marks simply
1550 follow the referenced markup. Marks can be inserted automatically,
1551 in which case they are numerical. Alternatively, custom marks can be
1554 Footnotes to stand-alone text with automatic and custom marks are
1555 created in different ways.
1557 @subsubsubheading Footnotes in stand-alone text with automatic marks
1559 The syntax of a footnote in stand-alone text with automatic marks is
1562 \markup @{ @dots{} \auto-footnote @var{text} @var{footnote} @dots{} @}
1570 is the markup or string to be marked.
1573 is the markup or string specifying the footnote text to use at the bottom
1580 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1582 \header { tagline = ##f }
1585 \auto-footnote "tune" \italic " By me"
1586 "is shown below. It is a"
1587 \auto-footnote "recent" \italic " Aug 2012"
1596 @subsubsubheading Footnotes in stand-alone text with custom marks
1598 The syntax of a footnote in stand-alone text with custom marks is
1601 \markup @{ @dots{} \footnote @var{mark} @var{footnote} @dots{} @}
1609 is a markup or string specifying the footnote mark which is used for
1610 marking the reference point. Note that this mark is @emph{not}
1611 inserted automatically before the footnote itself.
1614 is the markup or string specifying the footnote text to use at the
1615 bottom of the page, preceded by the @var{mark}.
1619 Any easy-to-type character such as * or + may be used as a mark, as
1620 shown in @ref{Footnotes in music expressions}. Alteratively, ASCII
1621 aliases may be used (see @ref{ASCII aliases}):
1623 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1625 \paper { #(include-special-characters) }
1626 \header { tagline = ##f }
1629 \footnote "*" \italic "* By me"
1630 "is shown below. It is a recent"
1631 \footnote \super † \concat {
1632 \super † \italic " Aug 2012"
1642 Unicode character codes may also be used to specify marks
1643 (see @ref{Unicode}):
1645 @lilypond[verbatim,quote,ragged-right,papersize=a8]
1647 \header { tagline = ##f }
1650 \footnote \super \char##x00a7 \concat {
1651 \super \char##x00a7 \italic " By me"
1653 "is shown below. It is a recent"
1654 \footnote \super \char##x00b6 \concat {
1655 \super \char##x00b6 \italic " Aug 2012"
1667 @rlearning{Objects and interfaces}.
1670 @ref{ASCII aliases},
1672 @ref{List of special characters},
1677 Internals Reference:
1678 @rinternals{FootnoteEvent},
1679 @rinternals{FootnoteItem},
1680 @rinternals{FootnoteSpanner},
1681 @rinternals{Footnote_engraver}.
1684 Multiple footnotes for the same page can only be stacked, one above
1685 the other; they cannot be printed on the same line.
1687 Footnotes cannot be attached to @code{MultiMeasureRests} or
1688 automatic beams or lyrics.
1690 Footnote marks may collide with staves, @code{\markup} objects, other
1691 footnote marks and annotation lines.
1694 @node Reference to page numbers
1695 @subsection Reference to page numbers
1697 A particular place of a score can be marked using the @code{\label}
1698 command, either at top-level or inside music. This label can then be
1699 referred to in a markup, to get the number of the page where the marked
1700 point is placed, using the @code{\page-ref} markup command.
1702 @lilypond[verbatim,papersize=a8landscape]
1703 \header { tagline = ##f }
1709 \pageBreak \mark A \label #'markA
1713 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
1714 \markup { Mark A is on page \page-ref #'markA "0" "?" }
1718 The @code{\page-ref} markup command takes three arguments:
1720 @item the label, a scheme symbol, eg. @code{#'firstScore};
1721 @item a markup that will be used as a gauge to estimate the dimensions
1723 @item a markup that will be used in place of the page number if the label
1727 The reason why a gauge is needed is that, at the time markups are
1728 interpreted, the page breaking has not yet occurred, so the page numbers
1729 are not yet known. To work around this issue, the actual markup
1730 interpretation is delayed to a later time; however, the dimensions of
1731 the markup have to be known before, so a gauge is used to decide these
1732 dimensions. If the book has between 10 and 99 pages, it may be "00",
1733 ie. a two digit number.
1744 @node Table of contents
1745 @subsection Table of contents
1746 A table of contents is included using the
1747 @code{\markuplist \table-of-contents} command. The elements which
1748 should appear in the table of contents are entered with the
1749 @code{\tocItem} command, which may be used either at top-level, or
1750 inside a music expression.
1753 \markuplist \table-of-contents
1756 \tocItem \markup "First score"
1760 \tocItem \markup "Some particular point in the first score"
1765 \tocItem \markup "Second score"
1773 Markups used for formatting the table of contents are defined in the
1774 @code{\paper} block. There are two @q{pre-defined} markups already
1780 @code{tocTitleMarkup}
1783 Used for formatting the title of the table of contents.
1786 tocTitleMarkup = \markup \huge \column {
1787 \fill-line { \null "Table of Contents" \null }
1793 @code{tocItemMarkup}
1796 Used for formatting the elements within the table of contents.
1799 tocItemMarkup = \markup \fill-line {
1800 \fromproperty #'toc:text \fromproperty #'toc:page
1807 Both of these variables can be changed.
1809 Here is an example changing the table of contents' title into French;
1813 tocTitleMarkup = \markup \huge \column {
1814 \fill-line { \null "Table des matières" \null }
1819 Here is an example changing the font-size of the elements in the table
1823 tocItemMarkup = \markup \large \fill-line {
1824 \fromproperty #'toc:text \fromproperty #'toc:page
1828 Note how the element text and page numbers are referred to in the
1829 @code{tocItemMarkup} definition.
1831 The @code{\tocItemWithDotsMarkup} command can be included within the
1832 @code{tocItemMarkup} to fill the line, between a table of contents item
1833 and its corresponding page number, with dots;
1835 @lilypond[verbatim,line-width=10.0\cm]
1836 \header { tagline = ##f }
1838 tocItemMarkup = \tocItemWithDotsMarkup
1842 \markuplist \table-of-contents
1843 \tocItem \markup { Allegro }
1844 \tocItem \markup { Largo }
1849 Custom commands with their own markups can also be defined to build a
1850 more complex table of contents. In the following example, a new style
1851 is defined for entering act names in a table of contents of an opera;
1854 A new markup variable (called @code{tocActMarkup}) is defined in the
1855 @code{\paper} block;
1859 tocActMarkup = \markup \large \column {
1861 \fill-line { \null \italic \fromproperty #'toc:text \null }
1868 A custom music function (@code{tocAct}) is then created -- which uses
1869 the new @code{tocActMarkup} markup definition.
1873 #(define-music-function (text) (markup?)
1874 (add-toc-item! 'tocActMarkup text))
1878 A LilyPond input file, using these customer definitions, could look
1879 something like this;
1881 @lilypond[line-width=10.0\cm]
1882 \header { tagline = ##f }
1884 tocActMarkup = \markup \large \column {
1886 \fill-line { \null \italic \fromproperty #'toc:text \null }
1892 #(define-music-function (text) (markup?)
1893 (add-toc-item! 'tocActMarkup text))
1896 \markuplist \table-of-contents
1897 \tocAct \markup { Atto Primo }
1898 \tocItem \markup { Coro. Viva il nostro Alcide }
1899 \tocItem \markup { Cesare. Presti omai l'Egizia terra }
1900 \tocAct \markup { Atto Secondo }
1901 \tocItem \markup { Sinfonia }
1902 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
1908 Here is an example of the @code{\fill-with-pattern} command used within
1909 the context of a table of contents;
1913 tocItemMarkup = \markup { \fill-line {
1914 \override #'(line-width . 70)
1915 \fill-with-pattern #1.5 #CENTER . \fromproperty #'toc:text \fromproperty #'toc:page
1923 @file{ly/toc-init.ly}.
1926 @funindex \table-of-contents
1927 @code{\table-of-contents},
1933 @node Working with input files
1934 @section Working with input files
1937 * Including LilyPond files::
1938 * Different editions from one source::
1939 * Special characters::
1943 @node Including LilyPond files
1944 @subsection Including LilyPond files
1947 @cindex including files
1949 A large project may be split up into separate files. To refer to
1953 \include "otherfile.ly"
1956 The line @code{\include "otherfile.ly"} is equivalent to pasting the
1957 contents of @file{otherfile.ly} into the current file at the place
1958 where the @code{\include} appears. For example, in a large
1959 project you might write separate files for each instrument part
1960 and create a @qq{full score} file which brings together the
1961 individual instrument files. Normally the included file will
1962 define a number of variables which then become available
1963 for use in the full score file. Tagged sections can be
1964 marked in included files to assist in making them usable in
1965 different places in a score, see @ref{Different editions from
1968 Files in the current working directory may be referenced by
1969 specifying just the file name after the @code{\include} command.
1970 Files in other locations may be included by giving either a full
1971 path reference or a relative path reference (but use the UNIX
1972 forward slash, /, rather than the DOS/Windows back slash, \, as the
1973 directory separator.) For example, if @file{stuff.ly} is located
1974 one directory higher than the current working directory, use
1977 \include "../stuff.ly"
1981 or if the included orchestral parts files are all located in a
1982 subdirectory called @file{parts} within the current directory, use
1985 \include "parts/VI.ly"
1986 \include "parts/VII.ly"
1990 Files which are to be included can also contain @code{\include}
1991 statements of their own. By default, these second-level
1992 @code{\include} statements are not interpreted until they have
1993 been brought into the main file, so the file names they specify
1994 must all be relative to the directory containing the main file,
1995 not the directory containing the included file. However,
1996 this behavior can be changed globally by passing the option
1997 @option{-drelative-includes} option at the command line
1998 (or by adding @code{#(ly:set-option 'relative-includes #t)}
1999 at the top of the main input file).
2001 When @code{relative-includes} is set to @code{#t}, the path for each
2002 @code{\include} command will be taken relative to the file containing
2003 that command. This behavior is recommended and it will become the
2004 default behavior in a future version of lilypond.
2006 Files relative to the main directory and files relative to some other
2007 directory may both be @code{\include}d by setting
2008 @code{relative-includes} to @code{#t} or @code{#f} at appropriate
2009 places in the files. For example, if a general library, libA, has
2010 been created which itself uses sub-files which are @code{\include}d
2011 by the entry file of that library, those @code{\include} statements
2012 will need to be preceded by
2013 @code{#(ly:set-option #relative-includes #t)} so they are interpreted
2014 correctly when brought into the main @code{.ly} file, like this:
2025 then the entry file, @code{libA.ly}, will contain
2028 #(ly:set-option 'relative-includes #t)
2032 % return to default setting
2033 #(ly:set-option 'relative-includes #f)
2036 Any @file{.ly} file can then include the entire library simply with
2039 \include "~/libA/libA.ly"
2042 More complex file structures may be devised by switching at
2045 Files can also be included from a directory in a search path
2046 specified as an option when invoking LilyPond from the command
2047 line. The included files are then specified using just their
2048 file name. For example, to compile @file{main.ly} which includes
2049 files located in a subdirectory called @file{parts} by this method,
2050 cd to the directory containing @file{main.ly} and enter
2053 lilypond --include=parts main.ly
2056 and in main.ly write
2064 Files which are to be included in many scores may be placed in
2065 the LilyPond directory @file{../ly}. (The location of this
2066 directory is installation-dependent - see
2067 @rlearning{Other sources of information}). These files can then
2068 be included simply by naming them on an @code{\include} statement.
2069 This is how the language-dependent files like @file{english.ly} are
2072 LilyPond includes a number of files by default when you start
2073 the program. These includes are not apparent to the user, but the
2074 files may be identified by running @code{lilypond --verbose} from
2075 the command line. This will display a list of paths and files that
2076 LilyPond uses, along with much other information. Alternatively,
2077 the more important of these files are discussed in
2078 @rlearning{Other sources of information}. These files may be
2079 edited, but changes to them will be lost on installing a new
2080 version of LilyPond.
2082 Some simple examples of using @code{\include} are shown in
2083 @rlearning{Scores and parts}.
2087 @rlearning{Other sources of information},
2088 @rlearning{Scores and parts}.
2091 If an included file is given a name which is the same as one in
2092 LilyPond's installation files, LilyPond's file from the
2093 installation files takes precedence.
2096 @node Different editions from one source
2097 @subsection Different editions from one source
2099 Several methods can be used to generate different versions of a score
2100 from the same music source. Variables are perhaps the most useful for
2101 combining lengthy sections of music and/or annotation. Tags are more
2102 useful for selecting one section from several alternative shorter
2103 sections of music, and can also be used for splicing pieces of music
2104 together at different points.
2106 Whichever method is used, separating the notation from the structure of
2107 the score will make it easier to change the structure while leaving the
2113 * Using global settings::
2116 @node Using variables
2117 @unnumberedsubsubsec Using variables
2119 @cindex variables, use of
2121 If sections of the music are defined in variables they can be
2122 reused in different parts of the score, see @rlearning{Organizing
2123 pieces with variables}. For example, an @notation{a cappella}
2124 vocal score frequently includes a piano reduction of the parts
2125 for rehearsal purposes which is identical to the vocal music, so
2126 the music need be entered only once. Music from two variables
2127 may be combined on one staff, see @ref{Automatic part combining}.
2130 @lilypond[verbatim,quote]
2131 sopranoMusic = \relative { a'4 b c b8( a) }
2132 altoMusic = \relative { e'4 e e f }
2133 tenorMusic = \relative { c'4 b e d8( c) }
2134 bassMusic = \relative { a4 gis a d, }
2135 allLyrics = \lyricmode { King of glo -- ry }
2137 \new Staff = "Soprano" \sopranoMusic
2138 \new Lyrics \allLyrics
2139 \new Staff = "Alto" \altoMusic
2140 \new Lyrics \allLyrics
2141 \new Staff = "Tenor" {
2145 \new Lyrics \allLyrics
2146 \new Staff = "Bass" {
2150 \new Lyrics \allLyrics
2153 \partcombine \sopranoMusic \altoMusic
2157 \partcombine \tenorMusic \bassMusic
2163 Separate scores showing just the vocal parts or just the piano
2164 part can be produced by changing just the structural statements,
2165 leaving the musical notation unchanged.
2167 For lengthy scores, the variable definitions may be placed in
2168 separate files which are then included, see @ref{Including
2172 @unnumberedsubsubsec Using tags
2175 @funindex \keepWithTag
2176 @funindex \removeWithTag
2178 @cindex keep tagged music
2179 @cindex remove tagged music
2181 The @code{\tag #'@var{partA}} command marks a music expression
2182 with the name @var{partA}.
2183 Expressions tagged in this way can be selected or filtered out by
2184 name later, using either @code{\keepWithTag #'@var{name}} or
2185 @code{\removeWithTag #'@var{name}}. The result of applying these filters
2186 to tagged music is as follows:
2187 @multitable @columnfractions .5 .5
2191 Tagged music preceded by @code{\keepWithTag #'@var{name}} or
2192 @code{\keepWithTag #'(@var{name1} @var{name2}@dots{})}
2193 @tab Untagged music and music tagged with any of the given tag
2195 music tagged with any other tag name is excluded.
2197 Tagged music preceded by @code{\removeWithTag #'@var{name}} or
2198 @code{\removeWithTag #'(@var{name1} @var{name2}@dots{})}
2199 @tab Untagged music and music not tagged with any of the given tag names
2200 is included; music tagged with any of the given tag names is
2203 Tagged music not preceded by either @code{\keepWithTag} or
2204 @code{\removeWithTag}
2205 @tab All tagged and untagged music is included.
2208 The arguments of the @code{\tag}, @code{\keepWithTag} and
2209 @code{\removeWithTag} commands should be a symbol or list of
2210 symbols (such as @code{#'score} or @code{#'(violinI violinII}),
2211 followed by a music expression. If @emph{and only if} the symbols
2212 are valid LilyPond identifiers (alphabetic characters only, no
2213 numbers, underscores, or dashes) which cannot be confused with notes,
2214 the @code{#'} may be omitted and, as a shorthand, a list of symbols
2215 can use the dot separator: i.e. @code{\tag #'(violinI violinII)} can
2216 be written @code{\tag violinI.violinII}. The same applies to
2217 @code{\keepWithTag} and @code{\removeWithTag}.
2219 In the following example, we see two versions of a piece of music,
2220 one showing trills with the usual notation, and one with trills
2221 explicitly expanded:
2223 @lilypond[verbatim,quote]
2226 \tag #'trills { d8.\trill }
2227 \tag #'expand { \repeat unfold 3 { e32 d } }
2232 \keepWithTag #'trills \music
2235 \keepWithTag #'expand \music
2240 Alternatively, it is sometimes easier to exclude sections of music:
2242 @lilypond[verbatim,quote]
2245 \tag #'trills { d8.\trill }
2246 \tag #'expand {\repeat unfold 3 { e32 d } }
2251 \removeWithTag #'expand
2255 \removeWithTag #'trills
2260 Tagged filtering can be applied to articulations, texts, etc. by
2264 -\tag #'@var{your-tag}
2267 to an articulation. For example, this would define a note with a
2268 conditional fingering indication and a note with a conditional
2273 c1-\tag #'warn ^"Watch!"
2276 Multiple tags may be placed on expressions with multiple
2277 @code{\tag} entries, or by combining multiple tags into one symbol
2280 @lilypond[quote,verbatim]
2281 music = \relative c'' {
2282 \tag #'a \tag #'both { a4 a a a }
2283 \tag #'(b both) { b4 b b b }
2286 \keepWithTag #'a \music
2287 \keepWithTag #'b \music
2288 \keepWithTag #'both \music
2292 Multiple @code{\removeWithTag} filters may be applied to a single
2293 music expression to remove several differently named tagged
2294 sections. Alternatively, you can use a single @code{\removeWithTag}
2295 with a list of tags.
2297 @lilypond[verbatim,quote]
2298 music = \relative c'' {
2299 \tag #'A { a4 a a a }
2300 \tag #'B { b4 b b b }
2301 \tag #'C { c4 c c c }
2302 \tag #'D { d4 d d d }
2308 \removeWithTag #'(B C)
2313 Using two or more @code{\keepWithTag} filters on a single music
2314 expression will cause @emph{all} of the tagged sections to be removed.
2315 The first filter will remove all except the one named and any subsequent
2316 filters will remove the rest. Using one @code{\keepWithTag} command
2317 with a list of multiple tags will only remove tagged sections that are
2318 not specified in that list.
2320 @lilypond[verbatim,quote]
2321 music = \relative c'' {
2322 \tag #'violinI { a4 a a a }
2323 \tag #'violinII { b4 b b b }
2324 \tag #'viola { c4 c c c }
2325 \tag #'cello { d4 d d d }
2329 \keepWithTag #'(violinI violinII)
2335 will print @code{\tag}s @var{violinI} and @var{violinII} but not
2336 @var{viola} or @var{cello}.
2341 While @code{\keepWithTag} is convenient when dealing with @emph{one} set
2342 of alternatives, the removal of music tagged with @emph{unrelated} tags
2343 is problematic when using them for more than one purpose. In that case
2344 @q{groups} of tags can be declared:
2347 \tagGroup #'(violinI violinII viola cello)
2351 Now all the different tags belong to a single @q{tag group}. Note that
2352 individual tags cannot be members of more than one @emph{tag group}.
2355 \keepWithTag #'violinI @dots{}
2359 will now only show music tagged from @code{violinI}'s tag group and any
2360 music tagged with one of the @emph{other} tags will removed.
2362 @lilypond[verbatim,quote]
2364 \tagGroup #'(violinI violinII viola cello)
2365 \tag #'violinI { c''4^"violinI" c c c }
2366 \tag #'violinII { a2 a }
2367 \tag #'viola { e8 e e2. }
2368 \tag #'cello { d'2 d4 d }
2373 \keepWithTag #'violinI
2378 When using the @code{\keepWithTag} command, only tags from the tag
2379 groups of the tags given in the command are visible.
2381 @funindex \pushToTag
2382 @funindex \appendToTag
2383 @cindex splice into tagged music
2385 Sometimes you want to splice some music at a particular place in an
2386 existing music expression. You can use @code{\pushToTag} and
2387 @code{\appendToTag} for adding material at the front or end of the
2388 @code{elements} of an existing music construct. Not every music
2389 construct has @code{elements}, but sequential and simultaneous music are
2392 @lilypond[verbatim,quote]
2393 music = { \tag #'here { \tag #'here <<c''>> } }
2396 \pushToTag #'here c'
2397 \pushToTag #'here e'
2398 \pushToTag #'here g' \music
2399 \appendToTag #'here c'
2400 \appendToTag #'here e'
2401 \appendToTag #'here g' \music
2405 Both commands get a tag, the material to splice in at every occurence of
2406 the tag, and the tagged expression.
2410 @rlearning{Organizing pieces with variables}.
2413 @ref{Automatic part combining},
2414 @ref{Including LilyPond files}.
2417 Calling @code{\relative} on a music expression obtained by filtering
2418 music through @code{\keepWithTag} or @code{\removeWithTag} might cause
2419 the octave relations to change, as only the pitches actually
2420 remaining in the filtered expression will be considered. Applying
2421 @code{\relative} first, before @code{\keepWithTag} or
2422 @code{\removeWithTag}, avoids this danger as @code{\relative} then
2423 acts on all the pitches as-input.
2426 @node Using global settings
2427 @unnumberedsubsubsec Using global settings
2429 @cindex include-settings
2431 Global settings can be included from a separate file:
2434 lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
2437 Groups of settings such as page size, font or type face can be stored
2438 in separate files. This allows different editions from the same score
2439 as well as standard settings to be applied to many scores, simply by
2440 specifying the proper settings file.
2442 This technique also works well with the use of style sheets, as
2443 discussed in @rlearning{Style sheets}.
2447 @rlearning{Organizing pieces with variables},
2448 @rlearning{Style sheets}.
2451 @ref{Including LilyPond files}.
2454 @node Special characters
2455 @subsection Special characters
2457 @cindex special characters
2458 @cindex non-ASCII characters
2468 @unnumberedsubsubsec Text encoding
2472 LilyPond uses the character repertoire defined by the Unicode
2473 consortium and ISO/IEC 10646. This defines a unique name and
2474 code point for the character sets used in virtually all modern
2475 languages and many others too. Unicode can be implemented using
2476 several different encodings. LilyPond uses the UTF-8 encoding
2477 (UTF stands for Unicode Transformation Format) which represents
2478 all common Latin characters in one byte, and represents other
2479 characters using a variable length format of up to four bytes.
2481 The actual appearance of the characters is determined by the
2482 glyphs defined in the particular fonts available - a font defines
2483 the mapping of a subset of the Unicode code points to glyphs.
2484 LilyPond uses the Pango library to layout and render multi-lingual
2487 LilyPond does not perform any input-encoding conversions. This
2488 means that any text, be it title, lyric text, or musical
2489 instruction containing non-ASCII characters, must be encoded in
2490 UTF-8. The easiest way to enter such text is by using a
2491 Unicode-aware editor and saving the file with UTF-8 encoding. Most
2492 popular modern editors have UTF-8 support, for example, vim, Emacs,
2493 jEdit, and Gedit do. All MS Windows systems later than NT use
2494 Unicode as their native character encoding, so even Notepad can
2495 edit and save a file in UTF-8 format. A more functional
2496 alternative for Windows is BabelPad.
2498 If a LilyPond input file containing a non-ASCII character is not
2499 saved in UTF-8 format the error message
2502 FT_Get_Glyph_Name () error: invalid argument
2507 Here is an example showing Cyrillic, Hebrew and Portuguese
2510 @c NOTE: No verbatim in the following example as the code does not
2511 @c display correctly in PDF Font settings for Cyrillic and Hebrew
2514 % Linux Libertine fonts contain Cyrillic and Hebrew glyphs.
2518 #:roman "Linux Libertine O,serif"
2519 #:sans "Linux Biolinum O,sans-serif"
2520 #:typewriter "Linux Libertine Mono O,monospace"
2525 bulgarian = \lyricmode {
2526 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
2530 hebrew = \lyricmode {
2531 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
2535 portuguese = \lyricmode {
2536 à vo -- cê uma can -- ção legal
2542 \addlyrics { \bulgarian }
2543 \addlyrics { \hebrew }
2544 \addlyrics { \portuguese }
2549 @unnumberedsubsubsec Unicode
2553 To enter a single character for which the Unicode code point is
2554 known but which is not available in the editor being used, use
2555 either @code{\char ##xhhhh} or @code{\char #dddd} within a
2556 @code{\markup} block, where @code{hhhh} is the hexadecimal code for
2557 the character required and @code{dddd} is the corresponding decimal
2558 value. Leading zeroes may be omitted, but it is usual to specify
2559 all four characters in the hexadecimal representation. (Note that
2560 the UTF-8 encoding of the code point should @emph{not} be used
2561 after @code{\char}, as UTF-8 encodings contain extra bits indicating
2562 the number of octets.) Unicode code charts and a character name
2563 index giving the code point in hexadecimal for any character can be
2564 found on the Unicode Consortium website,
2565 @uref{http://www.unicode.org/}.
2567 For example, @code{\char ##x03BE} and @code{\char #958} would both
2568 enter the Unicode U+03BE character, which has the Unicode name
2569 @qq{Greek Small Letter Xi}.
2571 Any Unicode code point may be entered in this way and if all special
2572 characters are entered in this format it is not necessary to save
2573 the input file in UTF-8 format. Of course, a font containing all
2574 such encoded characters must be installed and available to LilyPond.
2576 The following example shows Unicode hexadecimal values being entered
2577 in four places -- in a rehearsal mark, as articulation text, in
2578 lyrics and as stand-alone text below the score:
2580 @lilypond[quote,verbatim]
2583 c''1 \mark \markup { \char ##x03EE }
2584 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
2586 \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
2588 \markup { "Copyright 2008--2015" \char ##x00A9 }
2591 @cindex copyright sign
2593 To enter the copyright sign in the copyright notice use:
2597 copyright = \markup @{ \char ##x00A9 "2008" @}
2603 @unnumberedsubsubsec ASCII aliases
2605 A list of ASCII aliases for special characters can be included:
2607 @lilypond[quote,verbatim]
2609 #(include-special-characters)
2612 \markup "&flqq; – &OE;uvre incomplète… &frqq;"
2615 \new Staff { \repeat unfold 9 a'4 }
2617 This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
2622 "The replacement can be disabled:"
2623 "– &OE; …"
2624 \override #'(replacement-alist . ()) "– &OE; …"
2628 You can also make your own aliases, either globally:
2630 @lilypond[quote,verbatim]
2632 #(add-text-replacements!
2633 '(("100" . "hundred")
2634 ("dpi" . "dots per inch")))
2636 \markup "A 100 dpi."
2641 @lilypond[quote,verbatim]
2642 \markup \replace #'(("100" . "hundred")
2643 ("dpi" . "dots per inch")) "A 100 dpi."
2648 @ref{List of special characters}.
2651 @file{ly/text-replacements.ly}.
2654 @node Controlling output
2655 @section Controlling output
2658 * Extracting fragments of music::
2659 * Skipping corrected music::
2660 * Alternative output formats::
2661 * Replacing the notation font::
2664 @funindex clip-regions
2665 @cindex Fragments, music
2666 @cindex Music fragments
2668 @node Extracting fragments of music
2669 @subsection Extracting fragments of music
2671 It is possible to output one or more fragments of a score by defining
2672 the explicit location of the music to be extracted within the
2673 @code{\layout} block of the input file using the @code{clip-regions}
2674 function, and then running LilyPond with the @option{-dclip-systems}
2682 (make-rhythmic-location 5 1 2)
2683 (make-rhythmic-location 7 3 4)))
2688 This example will extract a single fragment of the input file
2689 @emph{starting} after a half-note duration in fifth measure
2690 (@code{5 1 2}) and @emph{ending} after the third quarter-note in the
2691 seventh measure (@code{7 3 4}).
2693 Additional fragments can be extracted by adding more pairs of
2694 @code{make-rhythmic-location} entries to the @code{clip-regions} list in
2695 the @code{\layout} block.
2697 By default, each music fragment will be output as a separate @code{EPS}
2698 file, but other formats such as @code{PDF} or @code{PNG} can also be
2699 created if required. The extracted music is output as if had been
2700 literally @q{cut} from the original printed score so if a fragment runs
2701 over one or more lines, a separate output file for each line will be
2706 @ref{The layout block}.
2709 @rprogram{Command-line usage}.
2713 @node Skipping corrected music
2714 @subsection Skipping corrected music
2717 @funindex skipTypesetting
2718 @funindex showFirstLength
2719 @funindex showLastLength
2721 When entering or copying music, usually only the music near the end (where
2723 are adding notes) is interesting to view and correct. To speed up
2724 this correction process, it is possible to skip typesetting of all but
2725 the last few measures. This is achieved by putting
2728 showLastLength = R1*5
2729 \score @{ @dots{} @}
2733 in your source file. This will render only the last 5 measures
2734 (assuming 4/4 time signature) of every @code{\score} in the input
2735 file. For longer pieces, rendering only a small part is often an order
2736 of magnitude quicker than rendering it completely. When working on the
2737 beginning of a score you have already typeset (e.g. to add a new part),
2738 the @code{showFirstLength} property may be useful as well.
2740 Skipping parts of a score can be controlled in a more fine-grained
2741 fashion with the property @code{Score.skipTypesetting}. When it is
2742 set, no typesetting is performed at all.
2744 This property is also used to control output to the MIDI file. Note that
2745 it skips all events, including tempo and instrument changes. You have
2748 @lilypond[quote,ragged-right,verbatim]
2751 \set Score.skipTypesetting = ##t
2754 \set Score.skipTypesetting = ##f
2759 In polyphonic music, @code{Score.skipTypesetting} will affect all
2760 voices and staves, saving even more time.
2762 @node Alternative output formats
2763 @subsection Alternative output formats
2765 @cindex scalable vector graphics output
2767 @cindex encapsulated postscript output
2770 The default output formats for the printed score are Portable
2771 Document Format (PDF) and PostScript (PS). Portable
2772 Network Graphics (PNG), Scalable Vector Graphics (SVG) and Encapsulated
2773 PostScript (EPS) output is available through the command line option,
2774 see @rprogram{Basic command line options for LilyPond}.
2777 @node Replacing the notation font
2778 @subsection Replacing the notation font
2780 Gonville is an alternative to the Feta font used in LilyPond and can
2783 @uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
2786 Here are a few sample bars of music set in Gonville:
2788 @c NOTE: these images are a bit big, but that's important
2789 @c for the font comparison. -gp
2790 @sourceimage{Gonville_after,15cm,,}
2792 Here are a few sample bars of music set in LilyPond's Feta font:
2794 @sourceimage{Gonville_before,15cm,,}
2796 @subsubheading Installation Instructions for MacOS
2798 Download and extract the zip file. Copy the @code{lilyfonts}
2799 directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
2800 information, see @rlearning{Other sources of information}. Rename the
2801 existing @code{fonts} directory to @code{fonts_orig} and the
2802 @code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
2803 reverse the process.
2807 @rlearning{Other sources of information}.
2810 Gonville cannot be used to typeset @q{Ancient Music} notation and it is
2811 likely newer glyphs in later releases of LilyPond may not exist in the
2812 Gonville font family. Please refer to the author's website for more
2813 information on these and other specifics, including licensing of
2817 @node Creating MIDI output
2818 @section Creating MIDI output
2823 LilyPond can produce files that conform to the MIDI (Musical Instrument
2824 Digital Interface) standard and so allow for the checking of the music
2825 output aurally (with the help of an application or device that
2826 understands MIDI). Listening to MIDI output may also help in spotting
2827 errors such as notes that have been entered incorrectly or are missing
2828 accidentals and so on.
2830 MIDI files do not contain sound (like AAC, MP3 or Vorbis files) but
2831 require additional software to produce sound from them.
2834 * Supported notation for MIDI::
2835 * Unsupported notation for MIDI::
2837 * Controlling MIDI dynamics::
2838 * Using MIDI instruments::
2839 * Using repeats with MIDI::
2840 * MIDI channel mapping::
2841 * Context properties for MIDI effects::
2842 * Enhancing MIDI output::
2845 @cindex MIDI, Supported notation
2847 @node Supported notation for MIDI
2848 @subsection Supported notation for MIDI
2850 The following musical notation can be used with LilyPond's default
2851 capabilities to produce MIDI output;
2855 @item Chords entered as chord names
2856 @item Crescendi, decrescendi over multiple notes. The volume is altered
2857 linearly between the two extremes
2858 @item Dynamic markings from @code{ppppp} to @code{fffff}, including
2859 @code{mp}, @code{mf} and @code{sf}
2860 @item Microtones but @emph{not} microtonal chords. A MIDI player that
2861 supports pitch bending will also be required.
2864 @item Rhythms entered as note durations, including tuplets
2865 @item @q{Simple} articulations; staccato, staccatissimo, accent, marcato
2867 @item Tempo changes using the @code{\tempo} function
2869 @item Tremolos that are @emph{not} entered with a
2870 @q{@code{:}[@var{number}]} value
2873 Panning, balance, expression, reverb and chorus effects can also be
2874 controlled by setting context properties,
2875 see @ref{Context properties for MIDI effects}.
2877 When combined with the @file{articulate} script the following,
2878 additional musical notation can be output to MIDI;
2881 @item Appoggiaturas. These are made to take half the value of the note
2882 following (without taking dots into account). For example;
2885 \appoggiatura c8 d2.
2889 The c will take the value of a crotchet.
2891 @item Ornaments (i.e. mordents, trills and turns et al.)
2892 @item Rallentando, accelerando, ritardando and a tempo
2893 @item Slurs, including phrasing slurs
2898 See @ref{Enhancing MIDI output}.
2900 @cindex MIDI, Unsupported notation
2902 @node Unsupported notation for MIDI
2903 @subsection Unsupported notation for MIDI
2905 The following items of musical notation cannot be output to MIDI;
2908 @item Articulations other than staccato, staccatissimo, accent, marcato
2910 @item Crescendi and decrescendi over a @emph{single} note
2914 @item Falls and doits
2915 @item Microtonal chords
2916 @item Rhythms entered as annotations, e.g. swing
2917 @item Tempo changes without @code{\tempo} (e.g. entered as annotations)
2918 @item Tremolos that @emph{are} entered with a @q{@code{:}[@var{number}]}
2923 @node The MIDI block
2924 @subsection The MIDI block
2928 To create a MIDI output file from a LilyPond input file, insert a
2929 @code{\midi} block, which can be empty, within the @code{\score} block;
2933 @var{@dots{} music @dots{}}
2939 @warning{ A @code{@bs{}score} block that, as well as the music, contains
2940 only a @code{@bs{}midi} block (i.e. @emph{without} the @code{@bs{}layout}
2941 block), will only produce MIDI output files. No notation will be
2944 The default output file extension (@code{.midi}) can be changed by using
2945 the @code{-dmidi-extension} option with the @code{lilypond} command:
2948 lilypond -dmidi-extension=mid MyFile.ly
2951 Alternatively, add the following Scheme expression before the start of
2952 either the @code{\book}, @code{\bookpart} or @code{\score} blocks. See
2953 @ref{File structure}.
2956 #(ly:set-option 'midi-extension "mid")
2961 @ref{File structure}.
2964 @file{scm/midi.scm}.
2967 There are fifteen MIDI channels available and one additional channel
2968 (#10) for drums. Staves are assigned to channels in sequence, so a
2969 score that contains more than fifteen staves will result in the extra
2970 staves sharing (but not overwriting) the same MIDI channel. This may be
2971 a problem if the sharing staves have conflicting, channel-based, MIDI
2972 properties -- such as different MIDI instruments -- set.
2975 @node Controlling MIDI dynamics
2976 @subsection Controlling MIDI dynamics
2978 It is possible to control the overall MIDI volume, the relative volume
2979 of dynamic markings and the relative volume of different instruments.
2981 Dynamic marks translate automatically into volume levels in the
2982 available MIDI volume range whereas crescendi and decrescendi vary the
2983 volume linearly between their two extremes. It is possible to control
2984 the relative volume of dynamic markings, and the overall volume levels
2985 of different instruments.
2988 * Dynamic marks in MIDI::
2989 * Setting MIDI volume::
2990 * Setting MIDI block properties::
2994 @cindex MIDI equalization
2995 @cindex MIDI dynamics
2996 @cindex Dynamics in MIDI
2999 @node Dynamic marks in MIDI
3000 @unnumberedsubsubsec Dynamic marks in MIDI
3002 Only the dynamic markings from @code{ppppp} to @code{fffff}, including
3003 @code{mp}, @code{mf} and @code{sf} have values assigned to them. This
3004 value is then applied to the value of the overall MIDI volume range to
3005 obtain the final volume included in the MIDI output for that particular
3006 dynamic marking. The default fractions range from 0.25 for
3007 @notation{ppppp} to 0.95 for @notation{fffff}. The complete set of
3008 dynamic marks and their associated fractions can be found in
3009 @file{scm/midi.scm}.
3013 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3014 {creating-custom-dynamics-in-midi-output.ly}
3017 @file{ly/script-init.ly}
3018 @file{scm/midi.scm}.
3023 Internals Reference:
3024 @rinternals{Dynamic_performer}.
3027 @node Setting MIDI volume
3028 @unnumberedsubsubsec Setting MIDI volume
3030 The minimum and maximum overall volume of MIDI dynamic markings is
3031 controlled by setting the properties @code{midiMinimumVolume} and
3032 @code{midiMaximumVolume} at the @code{Score} level. These properties
3033 have an effect only at the start of a voice and on dynamic marks. The
3034 fraction corresponding to each dynamic mark is modified with this
3038 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
3041 In the following example the dynamic range of the overall MIDI
3042 volume is limited to the range @code{0.2} - @code{0.5}.
3048 \set Staff.midiInstrument = #"flute"
3049 @var{@dots{} music @dots{}}
3052 \set Staff.midiInstrument = #"clarinet"
3053 @var{@dots{} music @dots{}}
3059 midiMinimumVolume = #0.2
3060 midiMaximumVolume = #0.5
3066 Simple MIDI instrument equalization can be achieved by setting
3067 @code{midiMinimumVolume} and @code{midiMaximumVolume} properties within
3068 the @code{Staff} context.
3073 \set Staff.midiInstrument = #"flute"
3074 \set Staff.midiMinimumVolume = #0.7
3075 \set Staff.midiMaximumVolume = #0.9
3076 @var{@dots{} music @dots{}}
3082 For scores with multiple staves and multiple MIDI instruments, the
3083 relative volumes of each instrument can be set individually;
3089 \set Staff.midiInstrument = #"flute"
3090 \set Staff.midiMinimumVolume = #0.7
3091 \set Staff.midiMaximumVolume = #0.9
3092 @var{@dots{} music @dots{}}
3095 \set Staff.midiInstrument = #"clarinet"
3096 \set Staff.midiMinimumVolume = #0.3
3097 \set Staff.midiMaximumVolume = #0.6
3098 @var{@dots{} music @dots{}}
3105 In this example the volume of the clarinet is reduced relative to the
3106 volume of the flute.
3108 If these volumes properties are not set then LilyPond still applies a
3109 @q{small degree} of equalization to certain instruments. See
3110 @file{scm/midi.scm}.
3113 @file{scm/midi.scm}.
3119 Internals Reference:
3120 @rinternals{Dynamic_performer}.
3123 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3124 {replacing-default-midi-instrument-equalization.ly}
3127 Changes in the MIDI volume take place only on starting a note, so
3128 crescendi and decrescendi cannot affect the volume of a single note.
3131 @node Setting MIDI block properties
3132 @unnumberedsubsubsec Setting MIDI block properties
3134 The @code{\midi} block can contain context rearrangements, new context
3135 definitions or code that sets the values of certain properties.
3139 @var{@dots{} music @dots{}}
3146 Here the tempo is set to 72 quarter-note beats per minute. The tempo
3147 mark in the @code{\midi} block will not appear in the printed score.
3148 Although any other @code{\tempo} indications specified within the
3149 @code{\score} block will also be reflected in the MIDI output.
3151 In a @code{\midi} block the @code{\tempo} command is setting properties
3152 during the interpretation of the music and in the context of output
3153 definitions; so it is interpreted @emph{as if} it were a context
3156 @cindex MIDI context definitions
3157 @cindex context definitions with MIDI
3159 Context definitions follow the same syntax as those in a @code{\layout}
3164 @var{@dots{} music @dots{}}
3168 \remove "Dynamic_performer"
3174 This example removes the effect of dynamics from the MIDI output. Note:
3175 LilyPond's translation modules used for sound are called @q{performers}.
3179 @rlearning{Other sources of information}.
3182 @ref{Expressive marks},
3186 @file{ly/performer-init.ly}.
3191 Internals Reference:
3192 @rinternals{Dynamic_performer}.
3195 Some MIDI players do not always correctly handle tempo changes in the
3198 Changes to the @code{midiInstrument}, as well as some MIDI options, at
3199 the @emph{beginning} of a staff may appear twice in the MIDI output.
3203 @node Using MIDI instruments
3204 @subsection Using MIDI instruments
3206 MIDI instruments are set using the @code{midiInstrument} property within
3207 a @code{Staff} context.
3212 \set Staff.midiInstrument = #"glockenspiel"
3213 @var{@dots{} music @dots{}}
3223 \new Staff \with @{midiInstrument = #"cello"@} @{
3224 @var{@dots{} music @dots{}}
3230 If the instrument name does not match any of the instruments listed in
3231 the @q{MIDI instruments} section, the @code{acoustic grand} instrument
3232 will be used instead. See @ref{MIDI instruments}.
3236 @rlearning{Other sources of information}.
3239 @ref{MIDI instruments},
3243 @file{scm/midi.scm}.
3246 Percussion instruments that are notated in a @code{DrumStaff}
3247 context will be output, correctly, to MIDI channel@tie{}10 but some
3248 pitched, percussion instruments like the xylophone, marimba, vibraphone
3249 or timpani, are treated as @qq{normal} instruments so the music for
3250 these should be entered in a @code{Staff} (not @code{DrumStaff}) context
3251 to obtain correct MIDI output. A full list of
3252 @code{channel 10 drum-kits} entries can be found in @file{scm/midi.scm}.
3253 See @rlearning{Other sources of information}.
3256 @node Using repeats with MIDI
3257 @subsection Using repeats with MIDI
3259 @cindex repeats in MIDI
3260 @cindex MIDI using repeats
3261 @funindex \unfoldRepeats
3263 Repeats can be represented in the MIDI output by applying the
3264 @code{\unfoldRepeats} command.
3269 \repeat tremolo 8 @{ c'32 e' @}
3270 \repeat percent 2 @{ c''8 d'' @}
3271 \repeat volta 2 @{ c'4 d' e' f' @}
3281 In order to restrict the effect of @code{\unfoldRepeats} to the MIDI
3282 output only, while also generating printable scores, it is necessary to
3283 make @emph{two} @code{\score} blocks; one for MIDI (with unfolded
3284 repeats) and one for the notation (with volta, tremolo, and percent
3289 @var{@dots{} music @dots{}}
3294 @var{@dots{} music @dots{}}
3300 When using multiple voices, each of the voices must contain completely
3301 unfolded repeats for correct MIDI output.
3308 @node MIDI channel mapping
3309 @subsection MIDI channel mapping
3311 @cindex MIDI Channels
3313 @funindex midiChannelMapping
3315 When generating a MIDI file from a score, LilyPond will automatically
3316 assign every note in the score to a MIDI channel, the one on which it
3317 should be played when it is sent to a MIDI device. A MIDI channel has
3318 a number of controls available to select, for example, the instrument
3319 to be used to play the notes on that channel, or to request the MIDI
3320 device to apply various effects to the sound produced on the channel.
3321 At all times, every control on a MIDI channel can have only a single
3322 value assigned to it (which can be modified, however, for example,
3323 to switch to another instrument in the middle of a score).
3325 The MIDI standard supports only 16 channels per MIDI device. This
3326 limit on the number of channels also limits the number of different
3327 instruments which can be played at the same time.
3329 LilyPond creates separate MIDI tracks for each staff, (or discrete
3330 instrument or voice, depending on the value of
3331 @code{Score.midiChannelMapping}), and also for each lyrics context.
3332 There is no limit to the number of tracks.
3334 To work around the limited number of MIDI channels, LilyPond supports
3335 a number of different modes for MIDI channel allocation, selected using
3336 the @code{Score.midiChannelMapping} context property. In each case,
3337 if more MIDI channels than the limit are required, the allocated
3338 channel numbers wrap around back to 0, possibly causing the incorrect
3339 assignment of instruments to some notes. This context property can be
3340 set to one of the following values:
3346 Allocate a separate MIDI channel to each staff in the score (this is
3347 the default). All notes in all voices contained within each staff will
3348 share the MIDI channel of their enclosing staff, and all are encoded
3349 in the same MIDI track.
3351 The limit of 16 channels is applied to the total number of staff and
3352 lyrics contexts, even though MIDI lyrics do not take up a MIDI channel.
3354 @item @code{'instrument}
3356 Allocate a separate MIDI channel to each distinct MIDI instrument
3357 specified in the score. This means that all the notes played with the
3358 same MIDI instrument will share the same MIDI channel (and track), even
3359 if the notes come from different voices or staves.
3361 In this case the lyrics contexts do not count towards the MIDI channel
3362 limit of 16 (as they will not be assigned to a MIDI instrument), so
3363 this setting may allow a better allocation of MIDI channels when the
3364 number of staves and lyrics contexts in a score exceeds 16.
3368 Allocate a separate MIDI channel to each voice in the score that has a
3369 unique name among the voices in its enclosing staff. Voices in
3370 different staves are always assigned separate MIDI channels, but any two
3371 voices contained within the same staff will share the same MIDI channel
3372 if they have the same name. Because @code{midiInstrument} and the
3373 several MIDI controls for effects are properties of the staff context,
3374 they cannot be set separately for each voice. The first voice will be
3375 played with the instrument and effects specified for the staff, and
3376 voices with a different name from the first will be assigned the default
3377 instrument and effects.
3379 Note: different instruments and/or effects can be assigned to several
3380 voices on the same staff by moving the @code{Staff_performer} from the
3381 @code{Staff} to the @code{Voice} context, and leaving
3382 @code{midiChannelMapping} to default to @code{'staff} or set to
3383 @code{'instrument}; see the snippet below.
3387 For example, the default MIDI channel mapping of a score can be changed
3388 to the @code{'instrument} setting as shown:
3396 midiChannelMapping = #'instrument
3403 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3404 {changing-midi-output-to-one-channel-per-voice.ly}
3407 @node Context properties for MIDI effects
3408 @subsection Context properties for MIDI effects
3410 @cindex Effects in MIDI
3411 @cindex Pan position in MIDI
3412 @cindex Stereo balance in MIDI
3413 @cindex Balance in MIDI
3414 @cindex Expression in MIDI
3415 @cindex Reverb in MIDI
3416 @cindex Chorus level in MIDI
3417 @funindex midiPanPosition
3418 @funindex midiBalance
3419 @funindex midiExpression
3420 @funindex midiReverbLevel
3421 @funindex midiChorusLevel
3423 The following context properties can be used to apply various MIDI
3424 effects to notes played on the MIDI channel associated with the
3425 current staff, MIDI instrument or voice (depending on the value of the
3426 @code{Score.midiChannelMapping} context property and the context in
3427 which the @code{Staff_performer} is located; see
3428 @ref{MIDI channel mapping}).
3430 Changing these context properties will affect all notes played on the
3431 channel after the change, however some of the effects may even apply
3432 also to notes which are already playing (depending on the
3433 implementation of the MIDI output device).
3435 The following context properties are supported:
3439 @item @code{Staff.midiPanPosition}
3441 The pan position controls how the sound on a MIDI channel is
3442 distributed between left and right stereo outputs. The context
3443 property accepts a number between -1.0 (@code{#LEFT}) and 1.0
3444 (@code{#RIGHT}); the value -1.0 will put all sound power to the left
3445 stereo output (keeping the right output silent), the value 0.0
3446 (@code{#CENTER}) will distribute the sound evenly between the left and
3447 right stereo outputs, and the value 1.0 will move all sound to the
3448 right stereo output. Values between -1.0 and 1.0 can be used to obtain
3449 mixed distributions between left and right stereo outputs.
3451 @item @code{Staff.midiBalance}
3453 The stereo balance of a MIDI channel. Similarly to the pan position,
3454 this context property accepts a number between -1.0 (@code{#LEFT}) and
3455 1.0 (@code{#RIGHT}). It varies the relative volume sent to the two
3456 stereo speakers without affecting the distribution of the stereo
3459 @item @code{Staff.midiExpression}
3461 Expression level (as a fraction of the maximum available level) to
3462 apply to a MIDI channel. A MIDI device combines the MIDI channel's
3463 expression level with a voice's current dynamic level (controlled using
3464 constructs such as @code{\p} or @code{\ff}) to obtain the total volume
3465 of each note within the voice. The expression control could be used, for
3466 example, to implement crescendo or decrescendo effects over single
3467 sustained notes (not supported automatically by LilyPond).
3469 @c Issue 4059 contains an attached snippet which shows how this might
3470 @c be done, but this is too large and complex for the NR, even as a
3471 @c referenced snippet. It could be added to the LSR.
3473 The expression level ranges from 0.0 (no expression, meaning zero
3474 volume) to 1.0 (full expression).
3476 @item @code{Staff.midiReverbLevel}
3478 Reverb level (as a fraction of the maximum available level) to apply
3479 to a MIDI channel. This property accepts numbers between 0.0 (no
3480 reverb) and 1.0 (full effect).
3482 @item @code{Staff.midiChorusLevel}
3484 Chorus level (as a fraction of the maximum available level) to apply to
3485 a MIDI channel. This property accepts numbers between 0.0 (no chorus
3486 effect) and 1.0 (full effect).
3493 As MIDI files do not contain any actual audio data, changes in these
3494 context properties translate only to requests for changing MIDI channel
3495 controls in the outputted MIDI files. Whether a particular MIDI device
3496 (such as a software MIDI player) can actually handle any of these
3497 requests in a MIDI file is entirely up to the implementation of the
3498 device: a device may choose to ignore some or all of these requests.
3499 Also, how a MIDI device will interpret different values for these
3500 controls (generally, the MIDI standard fixes the behavior only at the
3501 endpoints of the value range available for each control), and whether a
3502 change in the value of a control will affect notes already playing on
3503 that MIDI channel or not, is also specific to the MIDI device
3506 When generating MIDI files, LilyPond will simply transform the
3507 fractional values within each range linearly into values in a
3508 corresponding (7-bit, or 14-bit for MIDI channel controls which support
3509 fine resolution) integer range (0-127 or 0-32767, respectively),
3510 rounding fractional values towards the nearest integer away from zero.
3511 The converted integer values are stored as-is in the generated MIDI
3512 file. Please consult the documentation of your MIDI device for
3513 information about how the device interprets these values.
3516 @node Enhancing MIDI output
3517 @subsection Enhancing MIDI output
3520 * The articulate script::
3523 The default MIDI output is basic but can be improved by setting MIDI
3524 instruments, @code{\midi} block properties and/or using the
3525 @file{articulate} script.
3527 @cindex instrument names
3528 @cindex MIDI, instruments
3529 @cindex articulate script
3530 @cindex articulate.ly
3531 @funindex Staff.midiInstrument
3534 @node The articulate script
3535 @unnumberedsubsubsec The @file{articulate} script
3537 To use the @file{articulate} script add the appropriate @code{\include}
3538 command at the top of the input file;
3541 \include "articulate.ly"
3544 The script creates MIDI output into appropriately @q{time-scaled} notes
3545 to match many articulation and tempo indications. Engraved output
3546 however, will also be altered to literally match the MIDI output.
3551 @var{@dots{} music @dots{}}
3557 The @code{\articulate} command enables abbreviatures (such as trills and
3558 turns) to be processed. A full list of supported items can be found in
3559 the script itself. See @file{ly/articulate.ly}.
3563 @rlearning{Other sources of information}.
3569 @file{ly/articulate.ly}.
3571 @warning{The @file{articulate} script may shorten chords, which might
3572 not be appropriate for some types of instrument, such as organ music.
3573 Notes that do not have any articulations attached to them may also be
3574 shortened; so to allow for this, restrict the use of the
3575 @code{\articulate} function to shorter segments of music, or modify the
3576 values of the variables defined in the @file{articulate} script to
3577 compensate for the note-shortening behavior.}
3581 @node Extracting musical information
3582 @section Extracting musical information
3584 In addition to creating graphical output and MIDI, LilyPond can
3585 display musical information as text.
3588 * Displaying LilyPond notation::
3589 * Displaying scheme music expressions::
3590 * Saving music events to a file::
3593 @node Displaying LilyPond notation
3594 @subsection Displaying LilyPond notation
3596 @funindex \displayLilyMusic
3597 Displaying a music expression in LilyPond notation can be
3598 done with the music function @code{\displayLilyMusic}. To see the
3599 output, you will typically want to call LilyPond using the command
3604 \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
3611 @{ a,4 cis4 e4 fis4 g4 @}
3614 By default, LilyPond will print these messages to the console
3615 along with all the other LilyPond compilation messages. To split
3616 up these messages and save the results of @code{\displayLilyMusic},
3617 redirect the output to a file.
3620 lilypond file.ly >display.txt
3624 Note that Lilypond does not just display the music expression, but
3625 also interprets it (since @code{\displayLilyMusic} returns it in
3626 addition to displaying it). Just insert @code{\displayLilyMusic} into
3627 the existing music in order to get information about it.
3629 To interpret and display a music section in the console but, at the same
3630 time, remove it from the output file use the @code{\void} command.
3634 \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
3640 @node Displaying scheme music expressions
3641 @subsection Displaying scheme music expressions
3643 See @rextend{Displaying music expressions}.
3646 @node Saving music events to a file
3647 @subsection Saving music events to a file
3649 Music events can be saved to a file on a per-staff basis by
3650 including a file in your main score.
3653 \include "event-listener.ly"
3656 This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
3657 @file{FILENAME-unnamed-staff.notes} for each staff. Note that if
3658 you have multiple unnamed staves, the events for all staves will
3659 be mixed together in the same file. The output looks like this:
3662 0.000 note 57 4 p-c 2 12
3664 0.250 note 62 4 p-c 7 12
3665 0.500 note 66 8 p-c 9 12
3666 0.625 note 69 8 p-c 14 12
3671 The syntax is a tab-delimited line, with two fixed fields on each
3672 line followed by optional parameters.
3675 @var{time} @var{type} @var{@dots{}params@dots{}}
3678 This information can easily be read into other programs such as
3679 python scripts, and can be very useful for researchers wishing to
3680 perform musical analysis or playback experiments with LilyPond.
3685 Not all lilypond music events are supported by
3686 @file{event-listener.ly}. It is intended to be a well-crafted
3687 @qq{proof of concept}. If some events that you want to see are
3688 not included, copy @file{event-listener.ly} into your lilypond
3689 directory and modify the file so that it outputs the information