1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 @node General input and output
13 @chapter General input and output
15 This section deals with general LilyPond input and output issues,
16 rather than specific notation.
20 * Titles and headers::
21 * Working with input files::
22 * Controlling output::
28 @section Input structure
30 The main format of input for LilyPond are text files. By convention,
31 these files end with @code{.ly}.
34 * Structure of a score::
35 * Multiple scores in a book::
40 @node Structure of a score
41 @subsection Structure of a score
45 A @code{\score} block must contain a single music expression
46 delimited by curly brackets:
54 @warning{There must be @strong{only one} outer music expression in
55 a @code{\score} block, and it @strong{must} be surrounded by
58 This single music expression may be of any size, and may contain
59 other music expressions to any complexity. All of these examples
60 are music expressions:
66 @lilypond[verbatim,quote]
73 @lilypond[verbatim,quote]
75 \new Staff { c'4 c' c' c' }
76 \new Staff { d'4 d' d' d' }
84 \new Staff @{ \flute @}
85 \new Staff @{ \oboe @}
88 \new Staff @{ \violinI @}
89 \new Staff @{ \violinII @}
95 Comments are one exception to this general rule. (For others see
96 @ref{File structure}.) Both single-line comments and comments
97 delimited by @code{%@{ .. %@}} may be placed anywhere within an
98 input file. They may be placed inside or outside a @code{\score}
99 block, and inside or outside the single music expression within a
106 @rlearning{Working on input files},
107 @rlearning{Music expressions explained},
108 @rlearning{Score is a (single) compound musical expression}.
111 @node Multiple scores in a book
112 @subsection Multiple scores in a book
115 @cindex movements, multiple
117 A document may contain multiple pieces of music and text. Examples
118 of these are an etude book, or an orchestral part with multiple
119 movements. Each movement is entered with a @code{\score} block,
127 and texts are entered with a @code{\markup} block,
137 All the movements and texts which appear in the same @code{.ly} file
138 will normally be typeset in the form of a single output file.
152 However, if you want multiple output files from the same @code{.ly}
153 file, then you can add multiple @code{\book} blocks, where each such
154 @code{\book} block will result in a separate output. If you do not
155 specify any @code{\book} block in the file, LilyPond will implicitly
156 treat the full file as a single @code{\book} block, see @ref{File
157 structure}. One important exception is within lilypond-book documents,
158 where you explicitly have to add a @code{\book} block, otherwise only
159 the first @code{\score} or @code{\markup} will appear in the output.
161 The header for each piece of music can be put inside the @code{\score}
162 block. The @code{piece} name from the header will be printed before
163 each movement. The title for the entire book can be put inside the
164 @code{\book}, but if it is not present, the @code{\header} which is at
165 the top of the file is inserted.
169 title = "Eight miniatures"
170 composer = "Igor Stravinsky"
174 \header @{ piece = "Romanze" @}
177 ..text of second verse..
180 ..text of third verse..
184 \header @{ piece = "Menuetto" @}
189 @subsection File structure
198 A @code{.ly} file may contain any number of toplevel expressions, where a
199 toplevel expression is one of the following:
203 An output definition, such as @code{\paper}, @code{\midi}, and
204 @code{\layout}. Such a definition at the toplevel changes the default
205 book-wide settings. If more than one such definition of
206 the same type is entered at the top level any definitions in the later
207 expressions have precedence.
210 A direct scheme expression, such as
211 @code{#(set-default-paper-size "a7" 'landscape)} or
212 @code{#(ly:set-option 'point-and-click #f)}.
215 A @code{\header} block. This sets the global header block. This
216 is the block containing the definitions for book-wide settings, like
217 composer, title, etc.
220 A @code{\score} block. This score will be collected with other
221 toplevel scores, and combined as a single @code{\book}.
222 This behavior can be changed by setting the variable
223 @code{toplevel-score-handler} at toplevel. The default handler is
224 defined in the init file @file{../scm/@/lily@/.scm}.
227 A @code{\book} block logically combines multiple movements
228 (i.e., multiple @code{\score} blocks) in one document. If there
229 are a number of @code{\score}s, one output file will be created
230 for each @code{\book} block, in which all corresponding movements
231 are concatenated. The only reason to explicitly specify
232 @code{\book} blocks in a @code{.ly} file is if you wish to create
233 multiple output files from a single input file. One exception is
234 within lilypond-book documents, where you explicitly have to add
235 a @code{\book} block if you want more than a single @code{\score}
236 or @code{\markup} in the same example. This behavior can be
237 changed by setting the variable @code{toplevel-book-handler} at
238 toplevel. The default handler is defined in the init file
239 @file{../scm/@/lily@/.scm}.
242 A compound music expression, such as
247 This will add the piece in a @code{\score} and format it in a
248 single book together with all other toplevel @code{\score}s and music
249 expressions. In other words, a file containing only the above
250 music expression will be translated into
266 This behavior can be changed by setting the variable
267 @code{toplevel-music-handler} at toplevel. The default handler is
268 defined in the init file @file{../scm/@/lily@/.scm}.
271 A markup text, a verse for example
274 2. The first line verse two.
278 Markup texts are rendered above, between or below the scores or music
279 expressions, wherever they appear.
289 This can be used later on in the file by entering @code{\foo}. The
290 name of a variable should have alphabetic characters only; no
291 numbers, underscores or dashes.
295 The following example shows three things that may be entered at
300 % Don't justify the output
312 At any point in a file, any of the following lexical instructions can
316 @item @code{\version}
317 @item @code{\include}
318 @item @code{\sourcefilename}
319 @item @code{\sourcefileline}
321 A single-line comment, introduced by a leading @code{%} sign.
324 A multi-line comment delimited by @code{%@{ .. %@}}.
331 @rlearning{How LilyPond input files work}.
333 @node Titles and headers
334 @section Titles and headers
336 Almost all printed music includes a title and the composer's name;
337 some pieces include a lot more information.
342 * Reference to page numbers::
343 * Table of contents::
347 @node Creating titles
348 @subsection Creating titles
350 Titles are created for each @code{\score} block, as well as for the full
351 input file (or @code{\book} block).
353 The contents of the titles are taken from the @code{\header} blocks.
354 The header block for a book supports the following
360 The dedicatee of the music, centered at the top of the first page.
364 The title of the music, centered just below the dedication.
368 Subtitle, centered below the title.
370 @funindex subsubtitle
372 Subsubtitle, centered below the subtitle.
376 Name of the poet, flush-left below the subsubtitle.
380 Name of the instrument, centered below the subsubtitle. Also
381 centered at the top of pages (other than the first page).
385 Name of the composer, flush-right below the subsubtitle.
389 Meter string, flush-left below the poet.
393 Name of the arranger, flush-right below the composer.
397 Name of the piece, flush-left below the meter.
401 Name of the opus, flush-right below the arranger.
403 @cindex page breaks, forcing
404 @funindex breakbefore
406 This forces the title to start on a new page (set to ##t or ##f).
410 Copyright notice, centered at the bottom of the first page. To
411 insert the copyright symbol, see @ref{Text encoding}.
415 Centered at the bottom of the last page.
419 Here is a demonstration of the fields available. Note that you
420 may use any @ref{Formatting text}, commands in the header.
422 @lilypond[quote,verbatim,line-width=11.0\cm]
425 paper-height = 10.0\cm
430 dedication = "dedicated to me"
431 title = \markup \center-column { "Title first line" "Title second line,
433 subtitle = "the subtitle,"
434 subsubtitle = #(string-append "subsubtitle LilyPond version "
437 composer = \markup \center-column { "composer" \small "(1847-1973)" }
438 texttranslator = "Text Translator"
439 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
441 arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
442 #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
443 instrument = \markup \bold \italic "instrument"
467 As demonstrated before, you can use multiple @code{\header} blocks.
468 When same fields appear in different blocks, the latter is used.
469 Here is a short example.
473 composer = "Composer"
481 piece = "New piece" % overwrite previous one
486 If you define the @code{\header} inside the @code{\score} block, then
487 normally only the @code{piece} and @code{opus} headers will be printed.
488 Note that the music expression must come before the @code{\header}.
490 @lilypond[quote,verbatim,line-width=11.0\cm]
494 title = "title" % not printed
501 @funindex print-all-headers
503 You may change this behavior (and print all the headers when defining
504 @code{\header} inside @code{\score}) by using
508 print-all-headers = ##t
515 The default footer is empty, except for the first page, where the
516 @code{copyright} field from @code{\header} is inserted, and the last
517 page, where @code{tagline} from @code{\header} is added. The default
518 tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
519 printed parts are good PR for us, so please leave the tagline if you
522 Headers may be completely removed by setting them to false.
533 @subsection Custom titles
535 A more advanced option is to change the definitions of the following
536 variables in the @code{\paper} block. The init file
537 @file{../ly/titling-init.ly} lists the default layout.
540 @funindex bookTitleMarkup
541 @item bookTitleMarkup
542 This is the title added at the top of the entire output document.
543 Typically, it has the composer and the title of the piece
545 @funindex scoreTitleMarkup
546 @item scoreTitleMarkup
547 This is the title put over a @code{\score} block. Typically, it has
548 the name of the movement (@code{piece} field).
550 @funindex oddHeaderMarkup
551 @item oddHeaderMarkup
552 This is the page header for odd-numbered pages.
554 @funindex evenHeaderMarkup
555 @item evenHeaderMarkup
556 This is the page header for even-numbered pages. If unspecified,
557 the odd header is used instead.
559 By default, headers are defined such that the page number is on the
560 outside edge, and the instrument is centered.
562 @funindex oddFooterMarkup
563 @item oddFooterMarkup
564 This is the page footer for odd-numbered pages.
566 @funindex evenFooterMarkup
567 @item evenFooterMarkup
568 This is the page footer for even-numbered pages. If unspecified,
569 the odd header is used instead.
571 By default, the footer has the copyright notice on the first, and
572 the tagline on the last page.
582 The following definition will put the title flush left, and the
583 composer flush right on a single line.
587 bookTitleMarkup = \markup {
589 \fromproperty #'header:title
590 \fromproperty #'header:composer
596 @node Reference to page numbers
597 @subsection Reference to page numbers
599 A particular place of a score can be marked using the @code{\label}
600 command, either at top-level or inside music. This label can then be
601 referred to in a markup, to get the number of the page where the marked
602 point is placed, using the @code{\page-ref} markup command.
604 @lilypond[verbatim,line-width=11.0\cm]
605 \header { tagline = ##f }
611 \pageBreak \mark A \label #'markA
616 \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
617 \markup { Mark A is on page \page-ref #'markA "0" "?" }
621 The @code{\page-ref} markup command takes three arguments:
623 @item the label, a scheme symbol, eg. @code{#'firstScore};
624 @item a markup that will be used as a gauge to estimate the dimensions
626 @item a markup that will be used in place of the page number if the label
630 The reason why a gauge is needed is that, at the time markups are
631 interpreted, the page breaking has not yet occurred, so the page numbers
632 are not yet known. To work around this issue, the actual markup
633 interpretation is delayed to a later time; however, the dimensions of
634 the markup have to be known before, so a gauge is used to decide these
635 dimensions. If the book has between 10 and 99 pages, it may be "00",
636 ie. a two digit number.
645 @node Table of contents
646 @subsection Table of contents
647 A table of contents is included using the @code{\markuplines \table-of-contents}
648 command. The elements which should appear in the table of contents are
649 entered with the @code{\tocItem} command, which may be used either at
650 top-level, or inside a music expression.
653 \markuplines \table-of-contents
656 \tocItem \markup "First score"
660 \tocItem \markup "Some particular point in the first score"
665 \tocItem \markup "Second score"
673 The markups which are used to format the table of contents are defined
674 in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
675 for formatting the title of the table, and @code{tocItemMarkup}, for
676 formatting the toc elements, composed of the element title and page
677 number. These variables may be changed by the user:
681 %% Translate the toc title into French:
682 tocTitleMarkup = \markup \huge \column {
683 \fill-line { \null "Table des matières" \null }
686 %% use larger font size
687 tocItemMarkup = \markup \large \fill-line {
688 \fromproperty #'toc:text \fromproperty #'toc:page
693 Note how the toc element text and page number are referred to in
694 the @code{tocItemMarkup} definition.
696 New commands and markups may also be defined to build more elaborated
699 @item first, define a new markup variable in the @code{\paper} block
700 @item then, define a music function which aims at adding a toc element
701 using this markup paper variable.
704 In the following example, a new style is defined for entering act names
705 in the table of contents of an opera:
709 tocActMarkup = \markup \large \column {
711 \fill-line { \null \italic \fromproperty #'toc:text \null }
717 #(define-music-function (parser location text) (markup?)
718 (add-toc-item! 'tocActMarkup text))
721 @lilypond[line-width=11.0\cm]
722 \header { tagline = ##f }
724 tocActMarkup = \markup \large \column {
726 \fill-line { \null \italic \fromproperty #'toc:text \null }
732 #(define-music-function (parser location text) (markup?)
733 (add-toc-item! 'tocActMarkup text))
736 \markuplines \table-of-contents
737 \tocAct \markup { Atto Primo }
738 \tocItem \markup { Coro. Viva il nostro Alcide }
739 \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
740 \tocAct \markup { Atto Secondo }
741 \tocItem \markup { Sinfonia }
742 \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
749 Init files: @file{../ly/@/toc@/-init@/.ly}.
753 @funindex \table-of-contents
754 @code{\table-of-contents}
759 @node Working with input files
760 @section Working with input files
763 * Including LilyPond files::
764 * Different editions from one source::
766 * Displaying LilyPond notation::
770 @node Including LilyPond files
771 @subsection Including LilyPond files
774 @cindex including files
776 A large project may be split up into separate files. To refer to
780 \include "otherfile.ly"
783 The line @code{\include "otherfile.ly"} is equivalent to pasting the
784 contents of @file{otherfile.ly} into the current file at the place
785 where the @code{\include} appears. For example, in a large
786 project you might write separate files for each instrument part
787 and create a @qq{full score} file which brings together the
788 individual instrument files. Normally the included file will
789 define a number of variables which then become available
790 for use in the full score file. Tagged sections can be
791 marked in included files to assist in making them usable in
792 different places in a score, see @ref{Different editions from
795 Files in the current working directory may be referenced by
796 specifying just the file name after the @code{\include} command.
797 Files in other locations may be included by giving either a full
798 path reference or a relative path reference (but use the UNIX
799 forward slash, /, rather than the DOS/Windows back slash, \, as the
800 directory separator.) For example, if @file{stuff.ly} is located
801 one directory higher than the current working directory, use
804 \include "../stuff.ly"
808 or if the included orchestral parts files are all located in a
809 subdirectory called @file{parts} within the current directory, use
812 \include "parts/VI.ly"
813 \include "parts/VII.ly"
817 Files which are to be included can also contain @code{\include}
818 statements of their own. These second-level
819 @code{\include} statements are not interpreted until they have
820 been brought into the main file, so the file names they specify
821 must all be relative to the directory containing the main file,
822 not the directory containing the included file.
824 Files can also be included from a directory in a search path
825 specified as an option when invoking LilyPond from the command
826 line. The included files are then specified using just their
827 file name. For example, to compile @file{main.ly} which includes
828 files located in a subdirectory called @file{parts} by this method,
829 cd to the directory containing @file{main.ly} and enter
832 lilypond --include=parts main.ly
843 Files which are to be included in many scores may be placed in
844 the LilyPond directory @file{../ly}. (The location of this
845 directory is installation-dependent - see @rlearning{Other sources
846 of information}). These files can then be included simply by
847 naming them on an @code{\include} statement. This is how the
848 language-dependent files like @file{english.ly} are included.
850 LilyPond includes a number of files by default when you start
851 the program. These includes are not apparent to the user, but the
852 files may be identified by running @code{lilypond --verbose} from
853 the command line. This will display a list of paths and files that
854 LilyPond uses, along with much other information. Alternatively,
855 the more important of these files are discussed in @rlearning{Other
856 sources of information}. These files may be edited, but changes to
857 them will be lost on installing a new version of LilyPond.
859 Some simple examples of using @code{\include} are shown in
860 @rlearning{Scores and parts}.
864 @rlearning{Other sources of information},
865 @rlearning{Scores and parts}.
869 If an included file is given a name which is the same as one in
870 LilyPond's installation files, LilyPond's file from the
871 installation files takes precedence.
875 @node Different editions from one source
876 @subsection Different editions from one source
878 Several mechanisms are available to facilitate the generation
879 of different versions of a score from the same music source.
880 Variables are perhaps most useful for combining lengthy sections
881 of music and/or annotation in various ways, while tags are more
882 useful for selecting one from several alternative shorter sections
883 of music. Whichever method is used, separating the notation from
884 the structure of the score will make it easier to change the
885 structure while leaving the notation untouched.
892 @node Using variables
893 @unnumberedsubsubsec Using variables
895 @cindex variables, use of
897 If sections of the music are defined in variables they can be
898 reused in different parts of the score, see @rlearning{Organizing
899 pieces with variables}. For example, an @notation{a cappella}
900 vocal score frequently includes a piano reduction of the parts
901 for rehearsal purposes which is identical to the vocal music, so
902 the music need be entered only once. Music from two variables
903 may be combined on one staff, see @ref{Automatic part combining}.
906 @lilypond[verbatim,quote]
907 sopranoMusic = \relative c'' { a4 b c b8( a)}
908 altoMusic = \relative g' { e4 e e f }
909 tenorMusic = \relative c' { c4 b e d8( c) }
910 bassMusic = \relative c' { a4 gis a d, }
911 allLyrics = \lyricmode {King of glo -- ry }
913 \new Staff = "Soprano" \sopranoMusic
914 \new Lyrics \allLyrics
915 \new Staff = "Alto" \altoMusic
916 \new Lyrics \allLyrics
917 \new Staff = "Tenor" {
921 \new Lyrics \allLyrics
922 \new Staff = "Bass" {
926 \new Lyrics \allLyrics
929 \set Staff.printPartCombineTexts = ##f
935 \set Staff.printPartCombineTexts = ##f
945 Separate scores showing just the vocal parts or just the piano
946 part can be produced by changing just the structural statements,
947 leaving the musical notation unchanged.
949 For lengthy scores, the variable definitions may be placed in
950 separate files which are then included, see @ref{Including
954 @unnumberedsubsubsec Using tags
957 @funindex \keepWithTag
958 @funindex \removeWithTag
960 @cindex keep tagged music
961 @cindex remove tagged music
963 The @code{\tag #'@var{partA}} command marks a music expression
964 with the name @var{partA}.
965 Expressions tagged in this way can be selected or filtered out by
966 name later, using either @code{\keepWithTag #'@var{name}} or
967 @code{\removeWithTag #'@var{name}}. The result of applying these filters
968 to tagged music is as follows:
969 @multitable @columnfractions .5 .5
973 Tagged music preceded by @code{\keepWithTag #'@var{name}}
974 @tab Untagged music and music tagged with @var{name} is included;
975 music tagged with any other tag name is excluded.
977 Tagged music preceded by @code{\removeWithTag #'@var{name}}
978 @tab Untagged music and music tagged with any tag name other than
979 @var{name} is included; music tagged with @var{name} is
982 Tagged music not preceded by either @code{\keepWithTag} or
983 @code{\removeWithTag}
984 @tab All tagged and untagged music is included.
987 The arguments of the @code{\tag}, @code{\keepWithTag} and
988 @code{\removeWithTag} commands should be a symbol
989 (such as @code{#'score} or @code{#'part}), followed
990 by a music expression.
992 In the following example, we see two versions of a piece of music,
993 one showing trills with the usual notation, and one with trills
996 @lilypond[verbatim,quote]
997 music = \relative g' {
999 \tag #'trills {d8.\trill }
1000 \tag #'expand {\repeat unfold 3 {e32 d} }
1005 \keepWithTag #'trills \music
1008 \keepWithTag #'expand \music
1013 Alternatively, it is sometimes easier to exclude sections of music:
1015 @lilypond[verbatim,quote]
1016 music = \relative g' {
1018 \tag #'trills {d8.\trill }
1019 \tag #'expand {\repeat unfold 3 {e32 d} }
1024 \removeWithTag #'expand
1028 \removeWithTag #'trills
1033 Tagged filtering can be applied to articulations, texts, etc. by
1037 -\tag #'@var{your-tag}
1040 to an articulation. For example, this would define a note with a
1041 conditional fingering indication and a note with a conditional
1046 c1-\tag #'warn ^"Watch!"
1049 Multiple tags may be placed on expressions with multiple
1050 @code{\tag} entries:
1052 @lilypond[quote,verbatim]
1053 music = \relative c'' {
1054 \tag #'a \tag #'both { a a a a }
1055 \tag #'b \tag #'both { b b b b }
1058 \keepWithTag #'a \music
1059 \keepWithTag #'b \music
1060 \keepWithTag #'both \music
1064 Multiple @code{\removeWithTag} filters may be applied to a single
1065 music expression to remove several differently named tagged sections:
1067 @lilypond[verbatim,quote]
1068 music = \relative c'' {
1069 \tag #'A { a a a a }
1070 \tag #'B { b b b b }
1071 \tag #'C { c c c c }
1072 \tag #'D { d d d d }
1081 Two or more @code{\keepWithTag} filters applied to a single music
1082 expression will cause @emph{all} tagged sections to be removed, as
1083 the first filter will remove all tagged sections except the one
1084 named, and the second filter will remove even that tagged section.
1089 @rlearning{Organizing pieces with variables}.
1092 @ref{Automatic part combining},
1093 @ref{Including LilyPond files}.
1096 @c This warning is more general than this placement implies.
1097 @c Rests are not merged whether or not they come from tagged sections.
1098 @c Should be deleted? -td
1102 Multiple rests are not merged if you create a score with more
1103 than one tagged section at the same place.
1108 @subsection Text encoding
1110 LilyPond uses the character repertoire defined by the Unicode
1111 consortium and ISO/IEC 10646. This defines a unique name and
1112 code point for the character sets used in virtually all modern
1113 languages and many others too. Unicode can be implemented using
1114 several different encodings. LilyPond uses the UTF-8 encoding
1115 (UTF stands for Unicode Transformation Format) which represents
1116 all common Latin characters in one byte, and represents other
1117 characters using a variable length format of up to four bytes.
1119 The actual appearance of the characters is determined by the
1120 glyphs defined in the particular fonts available - a font defines
1121 the mapping of a subset of the Unicode code points to glyphs.
1122 LilyPond uses the Pango library to layout and render multi-lingual
1125 Lilypond does not perform any input-encoding conversions. This
1126 means that any text, be it title, lyric text, or musical
1127 instruction containing non-ASCII characters, must be encoded in
1128 UTF-8. The easiest way to enter such text is by using a
1129 Unicode-aware editor and saving the file with UTF-8 encoding. Most
1130 popular modern editors have UTF-8 support, for example, vim, Emacs,
1131 jEdit, and GEdit do. All MS Windows systems later than NT use
1132 Unicode as their native character encoding, so even Notepad can
1133 edit and save a file in UTF-8 format. A more functional
1134 alternative for Windows is BabelPad.
1136 If a LilyPond input file containing a non-ASCII character is not
1137 saved in UTF-8 format the error message
1140 FT_Get_Glyph_Name () error: invalid argument
1145 Here is an example showing Cyrillic, Hebrew and Portuguese
1149 %c No verbatim here as the code does not display correctly in PDF
1151 bulgarian = \lyricmode {
1152 Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
1156 hebrew = \lyricmode {
1157 זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
1161 portuguese = \lyricmode {
1162 à vo -- cê uma can -- ção legal
1168 \addlyrics { \bulgarian }
1169 \addlyrics { \hebrew }
1170 \addlyrics { \portuguese }
1173 To enter a single character for which the Unicode escape sequence
1174 is known but which is not available in the editor being used, use
1175 @code{\char ##xhhhh} within a @code{\markup} block, where
1176 @code{hhhh} is the hexadecimal code for the character required.
1177 For example, @code{\char ##x03BE} enters the Unicode U+03BE
1178 character, which has the Unicode name @qq{Greek Small Letter Xi}.
1179 Any Unicode hexadecimal code may be substituted, and if all special
1180 characters are entered in this format it is not necessary to save
1181 the input file in UTF-8 format. Of course, a font containing all
1182 such encoded characters must be installed and available to LilyPond.
1184 The following example shows UTF-8 coded characters being used in
1185 four places -- in a rehearsal mark, as articulation text, in lyrics
1186 and as stand-alone text below the score:
1188 @lilypond[quote,verbatim]
1191 c1 \mark \markup { \char ##x03EE }
1192 c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
1194 \addlyrics { O \markup { \concat{ Ph \char ##x0153 be! } } }
1196 \markup { "Copyright 2008" \char ##x00A9 }
1199 To enter the copyright sign in the copyright notice use:
1203 copyright = \markup @{ \char ##x00A9 "2008" @}
1207 @node Displaying LilyPond notation
1208 @subsection Displaying LilyPond notation
1210 @funindex \displayLilyMusic
1211 Displaying a music expression in LilyPond notation can be
1212 done using the music function @code{\displayLilyMusic}. For example,
1216 \displayLilyMusic \transpose c a, @{ c e g a bes @}
1223 @{ a, cis e fis g @}
1226 By default, LilyPond will print these messages to the console along
1227 with all the other messages. To split up these messages and save
1228 the results of @code{\display@{STUFF@}}, redirect the output to
1231 @c TODO What happens under Windows?
1234 lilypond file.ly >display.txt
1239 @node Controlling output
1240 @section Controlling output
1243 * Extracting fragments of music::
1244 * Skipping corrected music::
1247 @node Extracting fragments of music
1248 @subsection Extracting fragments of music
1250 It is possible to quote small fragments of a large score directly from
1251 the output. This can be compared to clipping a piece of a paper score
1254 This is done by defining the measures that need to be cut out
1255 separately. For example, including the following definition
1263 (make-rhythmic-location 5 1 2)
1264 (make-rhythmic-location 7 3 4)))
1269 will extract a fragment starting halfway the fifth measure, ending in
1270 the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
1271 in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
1273 More clip regions can be defined by adding more pairs of
1274 rhythmic-locations to the list.
1276 In order to use this feature, LilyPond must be invoked with
1277 @code{-dclip-systems}. The clips are output as EPS files, and are
1278 converted to PDF and PNG if these formats are switched on as well.
1280 For more information on output formats, see @rprogram{Invoking lilypond}.
1282 @node Skipping corrected music
1283 @subsection Skipping corrected music
1286 @funindex skipTypesetting
1287 @funindex showLastLength
1289 When entering or copying music, usually only the music near the end (where
1291 are adding notes) is interesting to view and correct. To speed up
1292 this correction process, it is possible to skip typesetting of all but
1293 the last few measures. This is achieved by putting
1296 showLastLength = R1*5
1301 in your source file. This will render only the last 5 measures
1302 (assuming 4/4 time signature) of every @code{\score} in the input
1303 file. For longer pieces, rendering only a small part is often an order
1304 of magnitude quicker than rendering it completely
1306 Skipping parts of a score can be controlled in a more fine-grained
1307 fashion with the property @code{Score.skipTypesetting}. When it is
1308 set, no typesetting is performed at all.
1310 This property is also used to control output to the MIDI file. Note that
1311 it skips all events, including tempo and instrument changes. You have
1314 @lilypond[quote,fragment,ragged-right,verbatim]
1317 \set Score.skipTypesetting = ##t
1319 \set Score.skipTypesetting = ##f
1323 In polyphonic music, @code{Score.skipTypesetting} will affect all
1324 voices and staves, saving even more time.
1329 @section MIDI output
1334 MIDI (Musical Instrument Digital Interface) is a standard for
1335 connecting and controlling digital instruments. A MIDI file is a
1336 series of notes in a number of tracks. It is not an actual
1337 sound file; you need special software to translate between the
1338 series of notes and actual sounds.
1340 Pieces of music can be converted to MIDI files, so you can listen to
1341 what was entered. This is convenient for checking the music; octaves
1342 that are off or accidentals that were mistyped stand out very much
1343 when listening to the MIDI output.
1346 The midi output allocates a channel for each staff, and one for global
1347 settings. Therefore the midi file should not have more than 15 staves
1348 (or 14 if you do not use drums). Other staves will remain silent.
1351 * Creating MIDI files::
1353 * What goes into the MIDI output?::
1355 * Controlling MIDI dynamics::
1356 * Percussion in MIDI::
1359 @node Creating MIDI files
1360 @subsection Creating MIDI files
1362 To create a MIDI output file from a LilyPond input file, add a
1363 @code{\midi} block to a score, for example,
1372 If there is a @code{\midi} block in a @code{\score} with no
1373 @code{\layout} block, only MIDI output will be produced. When
1374 notation is needed too, a @code{\layout} block must be also be
1385 Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
1386 and translated correctly to the MIDI output. Dynamic marks,
1387 crescendi and decrescendi translate into MIDI volume levels.
1388 Dynamic marks translate to a fixed fraction of the available MIDI
1389 volume range. Crescendi and decrescendi make the volume vary
1390 linearly between their two extremes. The effect of dynamic markings
1391 on the MIDI output can be removed completely, see @ref{MIDI block}.
1393 The initial tempo and later tempo changes can be specified
1394 with the @code{\tempo} command within the music notation. These
1395 are reflected in tempo changes in the MIDI output. This command
1396 will normally result in the metronome mark being printed, but this
1397 can be suppressed, see @ref{Metronome marks}. An alternative way
1398 of specifying the inital or overall MIDI tempo is described below,
1399 see @ref{MIDI block}.
1401 @unnumberedsubsubsec Instrument names
1403 @cindex instrument names
1404 @funindex Staff.midiInstrument
1406 The MIDI instrument to be used is specified by setting the
1407 @code{Staff.midiInstrument} property to the instrument name.
1408 The name should be chosen from the list in @ref{MIDI instruments}.
1412 \set Staff.midiInstrument = "glockenspiel"
1418 \new Staff \with @{midiInstrument = "cello"@} @{
1423 If the selected instrument does not exactly match an instrument from
1424 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
1430 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1431 {changing-midi-output-to-one-channel-per-voice.ly}
1435 @c In 2.11 the following no longer seems to be a problem -td
1437 Unterminated (de)crescendos will not render properly in the midi file,
1438 resulting in silent passages of music. The workaround is to explicitly
1439 terminate the (de)crescendo. For example,
1446 will not work properly but
1456 Changes in the MIDI volume take place only on starting a note, so
1457 crescendi and decrescendi cannot affect the volume of a
1460 Not all midi players correctly handle tempo changes in the midi
1461 output. Players that are known to work include MS Windows Media
1462 Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1465 @subsection MIDI block
1468 A @code{\midi} block must appear within a score block if MIDI output
1469 is required. It is analogous to the layout block, but somewhat
1470 simpler. Often, the @code{\midi} block is left empty, but it
1471 can contain context rearrangements, new context definitions or code
1472 to set the values of properties. For example, the following will
1473 set the initial tempo exported to a MIDI file without causing a tempo
1474 indication to be printed:
1482 tempoWholesPerMinute = #(ly:make-moment 72 4)
1488 In this example the tempo is set to 72 quarter note
1489 beats per minute. This kind of tempo specification cannot take
1490 a dotted note length as an argument. If one is required, break
1491 the dotted note into smaller units. For example, a tempo of 90
1492 dotted quarter notes per minute can be specified as 270 eighth
1496 tempoWholesPerMinute = #(ly:make-moment 270 8)
1499 @cindex MIDI context definitions
1501 Context definitions follow precisely the same syntax as those
1502 within a @code{\layout} block. Translation modules for sound are
1503 called performers. The contexts for MIDI output are defined in
1504 @file{../ly/@/performer@/-init@/.ly},
1505 see @rlearning{Other sources of information}.
1506 For example, to remove the effect of dynamics
1507 from the MIDI output, insert the following lines in the
1508 @code{\midi@{ @}} block.
1515 \remove "Dynamic_performer"
1520 MIDI output is created only when a @code{\midi} block is included
1521 within a score block defined with a @code{\score} command. If it
1522 is placed within an explicitly instantiated score context (i.e.
1523 within a @code{\new Score} block) the file will fail. To solve
1524 this, enclose the @code{\new Score} and the @code{\midi} commands
1525 in a @code{\score} block.
1529 \new Score @{ @dots{}notes@dots{} @}
1534 @node What goes into the MIDI output?
1535 @subsection What goes into the MIDI output?
1537 @c TODO Check grace notes - timing is suspect?
1539 @unnumberedsubsubsec Supported in MIDI
1541 @cindex Pitches in MIDI
1542 @cindex MIDI, Pitches
1543 @cindex Quarter tones in MIDI
1544 @cindex MIDI, quarter tones
1545 @cindex Microtones in MIDI
1546 @cindex MIDI, microtones
1547 @cindex Chord names in MIDI
1548 @cindex MIDI, chord names
1549 @cindex Rhythms in MIDI
1550 @cindex MIDI, Rhythms
1553 The following items of notation are reflected in the MIDI output:
1557 @item Quarter tones (See @ref{Accidentals}. Rendering needs a
1558 player that supports pitch bend.)
1559 @item Chords entered as chord names
1560 @item Rhythms entered as note durations, including tuplets
1561 @item Tremolos entered without @q{@code{:}[@var{number}]}
1564 @item Crescendi, decrescendi over multiple notes
1565 @item Tempo changes entered with a tempo marking
1569 @unnumberedsubsubsec Unsupported in MIDI
1571 @c TODO index as above
1573 The following items of notation have no effect on the MIDI output:
1576 @item Rhythms entered as annotations, e.g. swing
1577 @item Tempo changes entered as annotations with no tempo marking
1578 @item Staccato and other articulations and ornamentations
1579 @item Slurs and Phrasing slurs
1580 @item Crescendi, decrescendi over a single note
1581 @item Tremolos entered with @q{@code{:}[@var{number}]}
1586 @node Repeats in MIDI
1587 @subsection Repeats in MIDI
1589 @cindex repeats in MIDI
1590 @funindex \unfoldRepeats
1592 With a few minor additions, all types of repeats can be represented
1593 in the MIDI output. This is achieved by applying the
1594 @code{\unfoldRepeats} music function. This function changes all
1595 repeats to unfold repeats.
1597 @lilypond[quote,verbatim]
1599 \repeat tremolo 8 {c'32 e' }
1600 \repeat percent 2 { c''8 d'' }
1601 \repeat volta 2 {c'4 d' e' f'}
1610 When creating a score file using @code{\unfoldRepeats} for MIDI,
1611 it is necessary to make two @code{\score} blocks: one for MIDI
1612 (with unfolded repeats) and one for notation (with volta, tremolo,
1613 and percent repeats). For example,
1621 \unfoldRepeats @var{..music..}
1626 @node Controlling MIDI dynamics
1627 @subsection Controlling MIDI dynamics
1629 MIDI dynamics are implemented by the Dynamic_performer which lives
1630 by default in the Voice context. It is possible to control the
1631 overall MIDI volume, the relative volume of dynamic markings and
1632 the relative volume of different instruments.
1634 @unnumberedsubsubsec Dynamic marks
1636 Dynamic marks are translated to a fixed fraction of the available
1637 MIDI volume range. The default fractions range from 0.25 for
1638 @notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
1639 marks and the associated fractions can be seen in
1640 @file{../scm/midi.scm}, see @rlearning{Other sources of information}.
1641 This set of fractions may be changed or extended by providing a
1642 function which takes a dynamic mark as its argument and returns the
1643 required fraction, and setting
1644 @code{Score.dynamicAbsoluteVolumeFunction} to this function.
1646 For example, if a @notation{rinforzando} dynamic marking,
1647 @code{\rfz}, is required, this will not by default
1648 have any effect on the MIDI volume, as this dynamic marking is not
1649 included in the default set. Similarly, if a new dynamic marking
1650 has been defined with @code{make-dynamic-script} that too will not
1651 be included in the default set. The following example shows how the
1652 MIDI volume for such dynamic markings might be added. The Scheme
1653 function sets the fraction to 0.9 if a dynamic mark of rfz is
1654 found, or calls the default function otherwise.
1656 @lilypond[verbatim,quote]
1657 #(define (myDynamics dynamic)
1658 (if (equal? dynamic "rfz")
1660 (default-dynamic-absolute-volume dynamic)))
1664 \set Staff.midiInstrument = "cello"
1665 \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
1677 Alternatively, if the whole table of fractions needs to be
1678 redefined, it would be better to use the
1679 @notation{default-dynamic-absolute-volume} procedure in
1680 @file{../scm/midi.scm} and the associated table as a model.
1681 The final example in this section shows how this might be done.
1683 @unnumberedsubsubsec Overall MIDI volume
1685 The minimum and maximum overall volume of MIDI dynamic markings is
1686 controlled by setting the properties @code{midiMinimumVolume} and
1687 @code{midiMaximumVolume} at the @code{Score} level. These
1688 properties have an effect only on dynamic marks, so if they
1689 are to apply from the start of the score a dynamic mark must be
1690 placed there. The fraction corresponding to each dynamic mark is
1691 modified with this formula
1694 midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
1697 In the following example the dynamic range of the overall MIDI
1698 volume is limited to the range 0.2 - 0.5.
1700 @lilypond[verbatim,quote]
1706 \set Staff.midiInstrument = #"flute"
1707 \new Voice \relative c''' {
1715 \set Staff.midiInstrument = #"clarinet"
1716 \new Voice \relative c'' {
1727 tempoWholesPerMinute = #(ly:make-moment 72 2)
1728 midiMinimumVolume = #0.2
1729 midiMaximumVolume = #0.5
1735 @unnumberedsubsubsec Equalizing different instruments (i)
1737 If the minimum and maximum MIDI volume properties are set in
1738 the @code{Staff} context the relative volumes of the MIDI
1739 instruments can be controlled. This gives a basic instrument
1740 equalizer, which can enhance the quality of the MIDI output
1743 In this example the volume of the clarinet is reduced relative
1744 to the volume of the flute. There must be a dynamic
1745 mark on the first note of each instrument for this to work
1748 @lilypond[verbatim,quote]
1754 \set Staff.midiInstrument = #"flute"
1755 \set Staff.midiMinimumVolume = #0.7
1756 \set Staff.midiMaximumVolume = #0.9
1757 \new Voice \relative c''' {
1765 \set Staff.midiInstrument = #"clarinet"
1766 \set Staff.midiMinimumVolume = #0.3
1767 \set Staff.midiMaximumVolume = #0.6
1768 \new Voice \relative c'' {
1779 tempoWholesPerMinute = #(ly:make-moment 72 2)
1785 @unnumberedsubsubsec Equalizing different instruments (ii)
1787 If the MIDI minimum and maximum volume properties are not set
1788 LilyPond will, by default, apply a small degree of equalization
1789 to a few instruments. The instruments and the equalization
1790 applied are shown in the table @notation{instrument-equalizer-alist}
1791 in @file{../scm/midi.scm}.
1793 This basic default equalizer can be replaced by setting
1794 @code{instrumentEqualizer} in the @code{Score} context to a new
1795 Scheme procedure which accepts a MIDI instrument name as its only
1796 argument and returns a pair of fractions giving the minimum and
1797 maximum volumes to be applied to that instrument. This replacement
1798 is done in the same way as shown for resetting the
1799 @code{dynamicAbsoluteVolumeFunction} at the start of this section.
1800 The default equalizer, @notation{default-instrument-equalizer}, in
1801 @file{../scm/midi.scm} shows how such a procedure might be written.
1803 The following example sets the relative flute and clarinet volumes
1804 to the same values as the previous example.
1806 @lilypond[verbatim,quote]
1807 #(define my-instrument-equalizer-alist '())
1809 #(set! my-instrument-equalizer-alist
1812 ("flute" . (0.7 . 0.9))
1813 ("clarinet" . (0.3 . 0.6)))
1814 my-instrument-equalizer-alist))
1816 #(define (my-instrument-equalizer s)
1817 (let ((entry (assoc s my-instrument-equalizer-alist)))
1826 \set Score.instrumentEqualizer = #my-instrument-equalizer
1827 \set Staff.midiInstrument = #"flute"
1828 \new Voice \relative c''' {
1836 \set Staff.midiInstrument = #"clarinet"
1837 \new Voice \relative c'' {
1848 tempoWholesPerMinute = #(ly:make-moment 72 2)
1855 @c Delete when satisfied this is adequately covered elsewhere -td
1857 @n ode Microtones in MIDI
1858 @s ubsection Microtones in MIDI
1860 @cindex microtones in MIDI
1862 Microtones consisting of half sharps and half flats are exported
1863 to the MIDI file and render correctly in MIDI players which support
1864 pitch bending. See @ref{Note names in other languages}. Here is
1865 an example showing all the half sharps and half flats. It can be
1866 copied out and compiled to test microtones in your MIDI player.
1868 @lilypond[verbatim,quote]
1885 @node Percussion in MIDI
1886 @subsection Percussion in MIDI
1888 Percussion instruments are generally notated in a @code{DrumStaff}
1889 context and when notated in this way they are outputted correctly
1890 to MIDI channel@tie{}10, but some pitched percussion instruments,
1891 like the xylophone, marimba, vibraphone, timpani, etc., are
1892 treated like @qq{normal} instruments and music for these instruments
1893 should be entered in a normal @code{Staff} context, not a
1894 @code{DrumStaff} context, to obtain the correct MIDI output.
1896 Some non-pitched percussion sounds included in the general MIDI
1897 standard, like melodic tom, taiko drum, synth drum, etc., cannot
1898 be reached via MIDI channel@tie{}10, so the notation for such
1899 instruments should also be entered in a normal @code{Staff}
1900 context, using suitable normal pitches.
1902 Many percussion instruments are not included in the general MIDI
1903 standard, e.g. castanets. The easiest, although unsatisfactory,
1904 method of producing some MIDI output when writing for such
1905 instruments is to substitute the nearest sound from the standard
1908 @c TODO Expand with examples, and any other issues
1912 Because the general MIDI standard does not contain rim shots, the
1913 sidestick is used for this purpose instead.