[lilypond.git] / Documentation / user / mudela.tely

\input texinfo @c -*-texinfo-*-
@setfilename mudela.info
@settitle Reference Manual

@node Top, , , (dir)
@top
@menu
* Tutorial::            a tutorial introduction to lilypond
* Reference Manual::    Reference Manual
* Glossary::            A dictionary of musical terms.
@end menu

@macro keyindex {word}
@cindex \word\

@end macro

@macro indexcode {word}
@cindex \word\

@end macro

@node Tutorial, , , Top
@menu
* Introduction::                  Introduction
* The first tune::                The first tune
* Lyrics and chords::             Lyrics and chords
* Piano music::                   Piano music
* end of tutorial::                       The end
@end menu
@chapter Tutorial

@node Introduction,  , , Tutorial
@section Introduction

  
LilyPond prints music from a specification that you, the user, supply.
You have to give that specification using a @emph{language}.  This
document is a gentle introduction to that language, which is called
Mudela, an acronym of Music Definition Language.

This tutorial will demonstrate how to use Mudela by presenting
examples of input along with resulting output.  We will use English
terms for notation.  In case you are not familiar with those, you may
consult the glossary that is distributed with LilyPond.

The examples discussed are included in the distribution, in the
subdirectory @file{input/tutorial/}.  It is recommended that you
experiment with writing Mudela input yourself, to get a feel for
how LilyPond behaves.

@node The first tune,  , , Tutorial
@section The first tune


To demonstrate what LilyPond input looks like, we start off with a
full fledged, yet simple example. It is a convoluted version
of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.

@mudela[verbatim]
% lines preceded by a percent are comments.
\include "paper16.ly"
\score {
    \notes                        
    \relative c'' \sequential{                
            \time 3/4;                
            \key g;

        \repeat "volta" 2 {
            d4 g,8 a b c d4 g, g |
            e'4 c8 d e fis g4 g, g |
            c4 d8()c b a( )b4 c8 b a g |
            a4 [b8 a] [g fis] g2.  |
        }

        b'4 g8 a b g
        a4 d,8 e fis d |
        g4 e8 fis g d cis4 b8 cis a4 |
        a8-. b-. cis-. d-. e-. fis-.
        g4 fis e |
        fis a,  r8 cis8
        d2.-\fermata
        \bar "|.";
    }
    \paper {
       % standard settings are too wide for a book
       linewidth = 14.0 \cm;
   }
}
@end mudela

Enter it (or copy it, the filename is @file{menuet.ly}), compile it
with LilyPond and view the output.  Details of this procedure may vary
from system to system.  To create the output, one would issue the
command `@code{ly2dvi menuet}'.  @file{ly2dvi} is a program that does
the job of running LilyPond and TeX, handling of titles and
adjusting of page margins.

If all goes well, the file @file{menuet.dvi} will be created.
To view this output, issue the command `@code{xdvi menuet}'.

Now that we are familiar with the procedure of producing output, we
will analyse the input, line by line.
@ignore
Let's try to redo this
@example

        % lines preceded by a percent are comments.
 
@end example 
The percent sign, `@code{%}', introduces a line comment.  If you want to
make larger comments, you can use block comments. These are delimited
by `@code{%@{}' and `@code{%@}}'
@end ignore
@multitable @columnfractions .60 .39
@item
@noindent
@c @example  urg: no tt font
@c @exdent % lines preceded by a percent are comments.
@exdent @code{% lines preceded by a percent are comments.}
@c @end example
@tab
The percent sign, `@code{%}', introduces a line comment.  If you
want to make larger comments, you can use block comments. These
are delimited by `@code{%@{}' and `@code{%@}}'
@end multitable
@example 

        \input "paper16.ly"
 
@end example 
By default, LilyPond will use definitions for a 20
point@footnote{A point is the standard measure of length for
printing.  One point is 1/72.27 inch.} high staff.  We want smaller
output (16 point staff height), so we must import the settings for
that size, which is done.@example 

        \score @{
 
@end example 
  A mudela file combines music with directions for outputting that
music.  The music is combined with the output directions by putting
them into a @code{\score} block.
@example 

        \notes                
 
@end example 
 This makes LilyPond ready for accepting notes.
@example 

        \relative c''
 
@end example 
 As we will see, pitches are combinations of octave, note name and
chromatic alteration.  In this scheme, the octave is indicated by
using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
`@code{,}').  The central C is denoted by @code{c'}.  The C one octave
higher is @code{c''}.  One and two octaves below the central C is
denoted by @code{c} and @code{c,} respectively.

For pitches in a long piece you might have to type many quotes.  To
remedy this, LilyPond has a ``relative'' octave entry mode.  In this
mode, octaves of notes without quotes are chosen such that a note is
as close as possible (graphically, on the staff) to the the preceding
note.  If you add a high-quote an extra octave is added.  The lowered
quote (a comma) will subtract an extra octave.  Because the first note
has no predecessor, you have to give the (absolute) pitch of the note
to start with.@example 

        \sequential @{
 
@end example 
  What follows is sequential music, i.e.,
notes that are to be played and printed after each other.@example 

        \time 3/4;
 
@end example 
  This command changes the time signature of the current piece: a 3/4
sign is printed.  This command is also used to generate bar lines in
the right spots.@example 

        \key g;
 
@end example 
 This command changes the current key to G-major.  Although this
command comes after the @code{\time} command, in the output, the key
signature comes before the time signature: LilyPond knows about music
typesetting conventions. @example 

        \repeat "volta" 2
 
@end example 
  This command tells LilyPond that the following piece of music must
be played twice; @code{"volta"} volta brackets should be used for
alternatives---if there were any.
@example 

        @{
 
@end example 
The subject of the repeat is again sequential music.  Since
@code{\sequential} is such a common construct, a shorthand is provided:
just leave off @code{\sequential}, and the result is the same. @example 

        d4
 
@end example 
 This is a note with pitch @code{d} (determined up to octaves).  The
relative music was started with a @code{c''}, so the real pitch of this
note is @code{d''}.  The @code{4} designates the duration of the note
(it is a quarter note). @example 

        a b
 
@end example 
These are notes with pitch @code{a} and @code{b}.  Because their
duration is the same as the @code{g}, there is no need to enter the
duration (You may enter it anyway, eg. @code{a4 b4}) @example 

        d4 g, g |
 
@end example 
 Three more notes.  The `@code{|}' character is a `barcheck'.  When
processing the music, LilyPond will verify that barchecks are found at
the start of a measure.  This can help you track down errors.

 So far, no notes were chromatically altered.  Here is the first one
that is: @code{fis}. Mudela by default uses Dutch note names, and
``Fis'' is the Dutch note name for ``F sharp''.  However, there is no
sharp sign in the output. The program keeps track of key signatures,
and will only print accidentals if they are needed.
@example 

        c8 d e fis
 
@end example 
LilyPond guesses were beams can be added to eighth and shorter notes.
In this case, a beam over 4 eighths is added.
@example 

        c4 d8( )c b a( )b4 c8 b a g |
 
@end example 
  The next line shows how to make a slur:
the beginning and ending note of the slur is marked with an opening and
closing parenthesis respectively.  In the line shown above this is
done for two slurs.  Slur markers (parentheses) are between
the notes.@example 

        a4 [b8 a] [g fis] 
 
@end example 
Automatic beaming can be overridden by inserting beam marks
(brackets).  Brackets are put around notes you want beamed.@example 

        g2.  |
 
@end example 
A duration with augmentation dot  is notated
with the duration number followed by a period.@example 

        @}
 
@end example 
  This ends the sequential music to be repeated.  LilyPond will typeset
a repeat bar.  @example 

        cis'4 b8 cis a4 |
 
@end example 
 This line shows that Lily will print an accidental if that is
needed: the first C sharp will be printed with an accidental, the
second one without.  @example 

        a8-. b-. cis-. d-. e-. fis-.
 
@end example 
You can enter articulation signs either in a verbose form using a
shorthand.  Here we demonstrate the shorthand: it is formed by a dash
and the the character for the articulation to use, e.g. `@code{-.}' for
staccato as shown above.  @example 

        fis a, r8 cis8
 
@end example 
 
Rests are denoted by the special notename `@code{r}'.  You can also enter
an invisible rest by using the special notename `@code{s}'.
@example 

        d2.-\fermata
 
@end example 
 All articulations have a verbose form, like @code{\fermata}.  The
command `@code{\fermata}' is not part of the core of the language (most
of the other discussed elements are), but it is a shorthand for a more
complicated description of a fermata.  @code{\fermata} names that
description and is therefore called an @emph{identifier}. @example 

        @}
 
@end example 
 
Here the music ends.
@example 

        \paper @{
                linewidth = 14.0\cm;
        @}
 
@end example 
This specifies a conversion from music to notation output.  Most of
the details of this conversions (font sizes, dimensions, etc.) have
been taken care of, but  to fit the output  in this document, it has
to be smaller.  We do this by setting the line width to 14 centimeters
(approximately 6 inches).
@example 

        @}
 
@end example 
The last brace ends the @code{\score} block.

There are two things to note here. The format contains musical
concepts like pitches and durations, instead of symbols and positions:
the input format tries to capture the meaning of @emph{music}, and not
notation.  Therefore Second, the format tries to be @emph{context-free}:
a note will sound the same regardless of the current time signature,
the key, etc.

The purpose of LilyPond is explained informally by the term `music
typesetter'.  This is not a fully correct name: not only does the
program print musical symbols, it also makes esthetic decisions.  All
symbols and their placement is @emph{generated} from a high-level musical
description.  In other words,  LilyPond would be best
described by `music compiler' or `music to notation compiler'.

@node Lyrics and chords, , , Tutorial
@section Lyrics and chords

In this section we show how to typeset a song of unknown
origin.@footnote{The author would welcome information about the origin
of this song.}.

@example 
\header @{
        title = "The river is flowing";
        composer = "Traditional (?)";
@}
\include "paper16.ly"
melody = \notes \relative c' @{
        \partial 8;
        g8 |
        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|.";
@}

text = \lyrics @{
        The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
        ri -- ver is flo -- wing down to the sea.
@}

accompaniment =\chords @{
        r8
        c2-3- f-3-.7 d-min es4 c8-min r8
        c2-min f-min7 g-7^3.5 c-min @}

\score @{
        \simultaneous @{
%         \accompaniment
          \context ChordNames \accompaniment

          \addlyrics
            \context Staff = mel @{        
              \property Staff.noAutoBeaming = "1"
              \property Staff.automaticMelismata = "1"
              \melody 
            @}
            \context Lyrics \text
        @}
        \midi  @{ @}
        \paper @{ linewidth = 10.0\cm; @}
@} 
@end example 


The result would look this@footnote{The titling and font size shown
may differ, since the titling in this document is not generated by
@file{ly2dvi}.}.

@center @strong{The river is flowing}
@center Traditional 

@mudela[center]
\header {
        title = "The river is flowing";
        composer = "Traditional (?)";
}
\include "paper16.ly"
melody = \notes \relative c' {
        \partial 8;
        g8 |
        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|.";
}

text = \lyrics {
        The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
        ri -- ver is flo -- wing down to the sea.
}

accompaniment =\chords {
        r8
        c2-3- f-3-.7 d-min es4 c8-min r8
        c2-min f-min7 g-7^3.5 c-min }

\score {
        \simultaneous {
%         \accompaniment
          \context ChordNames \accompaniment

          \addlyrics
            \context Staff = mel {
              \property Staff.noAutoBeaming = "1"
              \property Staff.automaticMelismata = "1"
              \melody 
            }
            \context Lyrics \text
        }
        \midi  { }
        \paper { linewidth = 10.0\cm; }
}
@end mudela

Again, we will dissect the file line by line.@example 

        \header @{
 
@end example 
Information about the music you are about to typeset goes into a
@code{\header} block.  The information in this block is not used by
LilyPond, but it is included in the output.  @file{ly2dvi} uses this
information to print titles above the music.
@example 

        title = "The river is flowing";
        composer = "Traditional (?)"; 
@end example 
the @code{\header} block contains assignments.  An assignment starts
with a string.  (which is unquoted, in this case). Then comes the
equal sign `@code{=}'.  After the equal sign comes the expression you
want to store.  In this case, you want to put in strings.  The
information has to be quoted here, because it contains spaces. The
assignment is finished with a semicolon.@example 

        \include "paper16.ly"
 
@end example 
Smaller size for inclusion in a book.@example 

        melody = \notes \relative c' @{
 
@end example 
The structure of the file will be the same as the previous one, a
@code{\score} block with music in it.  To keep things readable, we will
give names to the different parts of music, and use the names to
construct the music within the score block.

@example 

        \partial 8;
 
@end example 

The piece starts with an anacrusis of one eighth.  @example 

        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|.";
 
@end example 
We use explicit beaming.  Since this is a song,  we will turn automatic
beams off, and use explicit beaming where needed.@example 

        @}
 
@end example 
This ends the definition of @code{melody}.  Note that there are no
semicolons after assignments at top level.@example 

        text = \lyrics @{
 
@end example 
Another identifier assignment.  This one is for the lyrics. 
Lyrics are formed by syllables that have duration, and not by
notes. To make LilyPond parse words as syllables,  switch it  into
lyrics mode with @code{\lyrics}.  Again, the brace after @code{\lyrics}
is a shorthand for @code{\sequential @{}. @example 

        The4 ri -- ver is flo- __ wing,  flo -- wing and gro -- wing, the
        ri- ver is flo- __ wing down to the sea.
        @}
 
@end example 
The syllables  themselves are  separated by spaces.  You can get syllable
extenders by entering `@code{__}', and centered hyphens with
`@code{-}@code{-}'.  We enter the syllables as if they are all quarter notes
in length (hence the @code{4}), and use a feature to align the
syllables to the music (which obviously isn't all quarter notes.)
@example 

        accompaniment =\chords @{
 
@end example 
We'll put chords over the music.  There is a special mode (analogous
to @code{\lyrics} and @code{\notes} mode) where you can give the names
of the chords you want, instead of the notes comprising the chord.
@example 

        r8
 
@end example 
There is no accompaniment during the anacrusis.@example 

        c2-3- f-3-.7
 
@end example 
A chord is started by  the tonic of the chord. The
first one lasts a half note.  An unadorned note creates a major
triad, while a minor triad is wanted.  @code{3-} modifies the third to
be small. @code{7} modifies (adds) a seventh, which is small by default
to create the @code{f a c es} chord.  Multiple modifiers must be
separated by a dot.@example 

        d-min es4 c8-min r8
 
@end example 
Some modifiers have predefined names, eg. @code{min} is  the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.@example 

        c2-min f-min7 g-7^3.5 c-min @}
 
@end example 
A named modifier @code{min} and a normal modifier @code{7} do not have
to be separated by a dot.  Tones from a chord are removed with chord
subtractions.  Subtractions are started with a caret, and they are
also separated by dots.  In this example, @code{g-7^3.5} produces a
minor seventh.  The brace ends the sequential music. @example 

        \score @{
                \simultaneous @{
 
@end example 
We assemble the music in the @code{\score} block.  Melody, lyrics and
accompaniment have to sound at the same time, so they should be
@code{\simultaneous}.@example 

        %\accompaniment
 
@end example 
Chord mode generates notes grouped in @code{\simultaneous} music.  If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
staff. @example 

        \context ChordNames \accompaniment
 
@end example 
Normally, the notes that you enter are transformed into note heads.
The note heads alone make no sense, they need surrounding information:
a key signature, a clef, staff lines, etc.  They need @emph{context}.  In
LilyPond, these symbols are created by objects called `interpretation
context'.  Interpretation contexts only exist during a run of
LilyPond.  Interpretation contexts that are for printing music (as
opposed to playing music) are called `notation context'.

By default, LilyPond will create a Staff contexts for you.  If you
would remove the @code{%} sign in the previous line, you can see that
mechanism in action.

We don't want default contexts here, because we want names, not note
heads.  An interpretation context can also created upon explicit
request. The keyword for such a request is @code{\context}.  It takes
two arguments.  The first is the name of a interpretation context.
The name is a string, it can be quoted with double quotes).  The
second argument is the music that should be interpreted in this
context.  For the previous line, we could have written @code{\context
Staff \accompaniment}, and get the same effect.@example 

        \addlyrics
 
@end example 
The lyrics need to be aligned with the melody.  This is done by
combining both with @code{\addlyrics}.  @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece.  If you would reverse the order, the notes would be
aligned on the lyrics, which is not very useful. (Besides, it looks
silly.)@example 

        \context Staff = mel @{
 
@end example 
This is the argument of @code{\addlyrics}.  We instantiate a
@code{Staff} context explicitly: should you chose to remove comment
before the ``note heads'' version of the accompaniment, the
accompaniment will be on a nameless staff.  The melody has to be on a
different staff as the accompaniment.  This is accomplished by giving
the melody staff a different name.@example 

        \property Staff.noAutoBeaming = "1"
 
@end example 
An interpretation context has variables that tune its behaviour.  One
of the variables is @code{noAutoBeaming}.  If set and non-zero (i.e.,
true) LilyPond will not try to put automatic beaming on the current
staff.@example 

        \property Staff.automaticMelismata = "1"
 
@end example 
Similarly, we  don't want to print a  syllable when there is
a slur. This sets up the Staff context to signal slurs while
@code{\addlyrics} is processed. @example 

          \melody
        @}
 
@end example 
Finally, we put the melody on the current staff.  Note that the
@code{\property} directives and @code{\melody} are grouped in sequential
music,  so the property settings are done before the melody is
processed.  @example 

        \context Lyrics \text
 
@end example 
The second argument of @code{\addlyrics} is the text. The text also
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc.  This context is called
Lyrics.@example 

        @}
 
@end example 
This ends @code{\simultaneous}.@example 

        \midi  @{ @}
 
@end example 
This makes the music go to a MIDI file.  MIDI is great for
checking music you enter.  You listen to the MIDI file: if you hear
something unexpected, it's probably a typing error.  @code{\midi} is an
`output definition', a declaration that specifies how to output music
analogous to @code{\paper @{ @}}.@example 

        \paper @{ linewidth = 10.0\cm; @}
 
@end example 
We also want notation output.  The linewidth is short so the piece
will be set in two lines. @example 

        @}
 
@end example 
End the score block.

@node Piano music, , , Tutorial
@section Piano music

Our third subject is a piece piano music.  The fragment in the input
file is a piano reduction of the G major Sinfonia by Giovanni Battista
Sammartini.  It was composed around 1740. 

@mudela[verbatim]

\include "paper16.ly";

viola = \notes \relative c' \context Voice = viola {
        <c4-\f g' c>
        \property Voice.verticalDirection = \down g'8. b,16
        s1 s2. r4
        g
}

oboes = \notes \relative c'' \context Voice = oboe {
        \stemup s4  g8. b,16 c8 r <e'8.-\p g> <f16 a>
        \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
        <
          { \times 2/3 { a8 g c } \! c2 }
          \context Voice = oboeTwo {
                \stemdown
                \grace {
                    \property Grace.verticalDirection = \down
                    [f,16 g] }
                f8 e e2
        } >
        \stemboth
        \grace <c,8( e> <)b8. d8.-\trill> <c16 e> | 
        [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r  |
        [<c16( e>  < )e8. g>] <c8 e,>
}

hoomPah  = \notes \transpose c' {
    c8 \translator Staff = top \stemdown 
    c'8 \translator Staff = bottom \stemup }

hoomPahHoomPah = { [\hoomPah \hoomPah] }

bassvoices = \notes \relative c' {
        c4 g8. b,16
        \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
        \stemdown [c8 c'8] r4
        <g d'> r4
        < {\stemup r2 <e4 c'> <c8 g'> }
          \context Voice = reallyLow  {\stemdown g2 ~ | g4 c8 } >
}

\score {
        \context PianoStaff \notes <
                \context Staff = top < \time 2/2;
                        \context Voice = viola \viola
                        \oboes
                >
                \context Staff = bottom < \time 2/2; \clef bass;
                        \bassvoices
                >
        >
        \midi { }
        \paper {
          indent = 0.0;
          linewidth = 15.0 \cm; }
}
@end mudela

If it looks like incomprehensible gibberish to you@dots{} Then you are
right.  The author has doctored this example to have as many quirks in
one system as possible.@example 
viola = \notes \relative c'  \context Voice = viola @{ 
@end example 
In this example, you can see multiple parts on a staff.  Each part is
associated with one notation context.  This notation context handles
stems and dynamics (among others).  The name of this context is
@code{Voice}.  For each part we have to make sure that there is
precisely one Voice context@footnote{If @code{\context} would not
have been specified explicitly, three @code{Voice} contexts would be
created: one for each note  in the first chord.}.@example 
<c4-\f g' c> 
@end example 
@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
chord.  @code{\f} places a forte symbol  under the chord.@example 
\property Voice.verticalDirection = \down 
@end example 
@code{verticalDirection} is a property of the voice context. It
controls the directions of stems, articulations marks and other
symbols.
  If @code{verticalDirection} is set to @code{\down}
(identifier for the integer -1) the stems go down,
@code{\up} (identifier for the integer 1) makes the stems go up.@example 
        g'8. b,16 
@end example 
Relative octaves work a little differently with chords.  The starting
point for the note following a chord is the first note of the chord.  So
the @code{g} gets an octave up quote: it is a fifth above the starting
note of the previous chord (the central C).

@example 
s1 s2. r4 
@end example 
@code{s} is a `spacer' rest.  It does not print anything,  but it does
have the duration of a rest.   @example 
oboes = \notes \relative c'' \context Voice = oboe @{ 
@end example 
Now comes a part for two oboes.  They play homophonically, so we
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
@code{\context}.@example 
\stemup s4  g8. b,16 c8 r <e'8.-\p g> <f16 a> 
@end example 
@code{\stemup} is an identifier reference.  It is shorthand for
@code{\property Voice.verticalDirection = \up}.  If possible, you
should use predefined identifiers like these for setting properties.
Your input will be less dependent upon the implementation of LilyPond.
@example 
\grace <e8( g> < )d4 f> <c2 e> 
@end example 
@code{\grace} introduces grace notes.  It takes one argument, in this
case a chord.  The slur started on the @code{e} of the chord
will be attached to the next note.@footnote{LilyPond will squirm
about unended Slurs.  In this case, you can ignore the warning}.
@example 
\times 2/3 
@end example 
Tuplets are made with the @code{\times} keyword.  It takes two
arguments: a fraction and a piece of music.  The duration of the
second argument is multiplied by the first argument.  Triplets make
notes occupy 2/3 of their notated duration, so in this case the
fraction is 2/3. @example 
@{ <d8 \< f> <e g> <f a> @} 
@end example 
The piece of music to be `tripletted' is sequential music containing
three notes.  On the first chord (the @code{d}), a crescendo is started
with @code{\<}.@example 
< 
@end example 
At this point, the homophonic music splits into two rhythmically
different parts.  We can't use a sequence of chords to enter this, so
we make a `chord' of sequences to do it.  We start with the upper
voice, which continues with upward stems: @example 
 @{ \times 2/3 @{ a8 g c @} \! c2 @} 
@end example 
The crescendo is ended at the half note by the escaped exclamation
mark `@code{\!}'.  @example 
\context Voice = oboeTwo @{
\stemdown 
@end example 
We can't share stems with the other voice, so we have to create a new
@code{Voice} context.  We give it the name @code{oboeTwo} to distinguish
it from the other context.  Stems go down in this voice. @example 
\grace @{  
@end example 
When a grace section is processed, a @code{Grace} context is
created. This context acts like a miniature score of its own.  It has
its own time bookkeeping, and you can make notes, beams, slurs
etc. Here fiddle with a property and make a beam.  The argument of
@code{\grace} is sequential music.@example 
\property Grace.verticalDirection = \down
[f,16 g] @} 
@end example 
Normally, grace notes are always stem up, but in this case, the upper
voice interferes. We set the stems down here.

As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
the @code{f}.
@example 

  f8 e e2
@} > 
@end example 
This ends the two-part section. @example 
\stemboth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |  
@end example 
@code{\stemboth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.

The bass has a little hoom-pah melody to demonstrate parts switching
between staffs.  Since it is repetitive, we use identifiers:@example 
hoomPah  = \notes \transpose c' @{ 
@end example 
Transposing can be done with @code{\transpose}.  It takes two
arguments; the first specifies what central C should be transposed to.
The second is the to-be-transposed music.  As you can see, in this
case, the transposition is a no-op.  Central C is transposed to
central C.

The purpose of this no-op is circumventing relative mode.  Relative
mode can not be used in conjunction with transposition, so relative
mode will leave the contents of @code{\hoomPah} alone.  We can use it
without having to worry about getting the motive in a wrong
octave@footnote{@code{hoomPah = \relative @dots{}} would be more
intuitive to use, but that would not let me plug @code{\transpose}
:-).}.@example 
c8 \translator Staff = top \stemdown  
@end example 
We assume that the first note will be put in the lower staff.  After
that note we switch to the upper staff with @code{\translator}.  To be
precise, this @code{\translator} entry switches the current voice to a
@code{Staff} named @code{top}. So we have to name the upper staff
`@code{top}'.  Stem directions are set to avoid interfering with the
oboe voices.  @example 
c'8 \translator Staff = bottom \stemup @} 
@end example 
Then a note is put on the upper staff, and we switch again.  We have
to name the lower staff `@code{bottom}'. @example 
hoomPahHoomPah = @{ [\hoomPah \hoomPah] @} 
@end example 
Put two of these fragments in sequence, and beam them.@example 
bassvoices = \notes \relative c' @{
c4 g8. b,16
\hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
\hoomPahHoomPah 
@end example 
Entering the bass part is easy: the hoomPahHoomPah variable is
referenced four times.@example 
\context Voice = reallyLow  @{\stemdown g2 ~ | g4 c8 @} > 
@end example 
After skipping some lines, we see @code{~}.  This mark makes ties.@example 
\context PianoStaff 
@end example 
For piano music, a special context is needed to get cross staff
beaming right.  It is called @code{PianoStaff}.@example 
\context Staff = bottom < \time 2/2; \clef bass; 
@end example 
The bottom staff must have a different clef.@example 
indent = 0.0; 
@end example 
To make some more room on the line, the first (in this case the only)
line is not indented.  The line still looks is very cramped, but that is due
to the format of this tutorial.

This example shows a lot of features, but the organisation isn't
perfect.  For example, it would be less confusing to use a chord
containing sequential music than a sequence of chords for the oboe
parts.

[TODO: demonstrate Hara-Kiri with scores and  part extraction.]

@node  end of tutorial, , , Tutorial
@section The end        
         
That's all folks.  From here, you can either try fiddling with input
files, or you can read the reference manual.






@node Reference Manual, ,  , Top
@menu
* Overview::                      Overview
* Top level::                     Top level
* notenames::                     notenames
* Lexical conventions::           Lexical conventions
* notelang::                      notelang
* modes::                         modes
* Types::                         Types
* Music expressions::             Music expressions
* Atomic music expressions::      Atomic music expressions
* atomicmusic::                   atomicmusic
* notedesc::                      notedesc
* barlines::                      barlines
* manualbeam::                    manualbeam
* tremolo::                       tremolo
* Compound music expressions::    Compound music expressions
* compoundmusic::                 compoundmusic
* relative::                      relative
* sec-repeats::                   sec-repeats
* transpose::                     transpose
* Ambiguities::                   Ambiguities
* Notation conversion specifics:: Notation conversion specifics
* autobeam::                      autobeam
* lyricprint::                    lyricprint
* Notation Contexts::             Notation Contexts
* contextselection::              contextselection
* Notation output definitions::   Notation output definitions
* output::                        output
* paper::                         paper
* papervars::                     papervars
* contextdefs::                   contextdefs
* engravers::                     engravers
* Sound output::                  Sound output
* midilist::                      midilist
* Pre-defined Identifiers::       Pre-defined Identifiers
* Running LilyPond::              Running LilyPond
@end menu

@chapter Reference Manual



@node Overview, , , Reference Manual
@section Overview

This document@footnote{This document has been revised for
LilyPond 1.2.} describes the the GNU LilyPond input format, which is
a language for defining music.  We call this language @emph{Music
Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
comes up with a better name, we'd gladly take this.  Gourlay already
uses a ``Musical Description Language,'' ISO standard 10743 defines a
``Standard Music Description Language.''  We're not being original
here.}

@emph{Mudela} is a language that allows you to

@itemize @bullet
  @item  create musical expressions by combining pitches, durations 
  @item  output those musical expressions to various formats
  @item  give those musical expressions and output definitions names, so
       you can enter them in manageable chunks.
@end itemize

@emph{Mudela} aims to define a piece of music completely, both from
typesetting and from a performance point of view.



@node Top level, , , Reference Manual
@section Top level

@cindex top level

This section describes what you may enter at top level.



@cindex score definition

The output is generated combining a music expression with an output
definition.  A score block has the following syntax:

@example
  \score @{ @var{musicexpr} @var{outputdefs} @}
@end example

@var{outputdefs} are zero or more output definitions.  If no output
definition is supplied, the default @code{\paper} block will be added.



@cindex header

@keyindex{header}

The syntax is

@example
  \header @{ @var{key1} = @var{val1};
                        @var{key2} = @var{val2}; @dots{} @}
@end example

A header describes the file's contents.  It can also appear in a
@code{\score} block.  Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
information for generating titles.  Key values that are used by
@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
metre, arranger, piece and tagline.

It is customary to put the @code{\header} at the top of the file.


@node notenames, , ,  Reference Manual

Note name tables can be specified using

@example
   \notenames@keyindex{notenames}
  @{ @var{assignmentlist} @}
@end example

@var{assignmentlist} is a list of definitions of the form

@example
  @var{name} = @var{pitch}
@end example

Chord modifiers can be set analogously, with
@code{\chordmodifiers}@keyindex{chordmodifiers}.

A @code{\paper} block at top level sets the default paper block.  A
@code{\midi} block at top level works similarly.



LilyPond contains a Scheme interpreter (the GUILE library) for
internal use.  The following commands access the interpreter
directly.

@example
  \scm @keyindex{scm} @var{scheme} ;
@end example

Evaluates the specified Scheme code.  The result is discarded.

@example
\scmfile@keyindex{scmfile} @var{filename};
@end example

Reads Scheme code from the specified file.  The result is discarded.



Identifier assignments may appear at top level.  Semicolons are
forbidden after top level assignments.



@node Lexical conventions, , ,  Reference Manual
@section Lexical conventions

@cindex lexical conventions



@cindex comment

@indexcode{%}


A one line comment is introduced by a `@code{%}' character. 
Block comments are started by `@code{%@{}' and ended by `@code{%@}}'. 
They cannot be nested.



@cindex keyword

Keywords start with a backslash, followed by a number of lower case
alphabetic characters.  These are all the keywords.

@example
  \accepts
  \addlyrics
  \alternative
  \bar
  \breathe
  \cadenza
  \chordmodifiers
  \chords
  \clef
  \cm
  \consists
  \consistsend
  \context
  \duration
  \font
  \grace
  \header
  \in
  \key
  \keysignature
  \lyrics
  \mark
  \midi
  \mm
  \musicalpitch
  \name
  \notenames
  \notes
  \paper
  \partial
  \penalty
  \property
  \pt
  \relative
  \remove
  \repeat
  \repetitions
  \scm
  \scmfile
  \score
  \script
  \sequential
  \shape
  \simultaneous
  \skip
  \spanrequest
  \tempo
  \textscript
  \time
  \times
  \translator
  \transpose
  \type
@end example




@cindex integer

Formed from an optional minus sign followed by digits.  Arithmetic
operations cannot be done with integers, and integers cannot be mixed
with reals.



@cindex real
 

Formed from an optional minus sign and a sequence of digits followed
by a @emph{required} decimal point and an optional exponent such as
@code{-1.2e3}.  Reals can be built up using the usual operations:
`@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
`@code{/}@indexcode{/}', with parentheses for grouping.

A real constant can be followed by one of the dimension
keywords:
@cindex dimensions
 @code{\mm}@keyindex{mm},
@code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
@code{\cm}@keyindex{cm}, for millimeters, points, inches and
centimeters, respectively.  This converts the number to a real that
is the internal representation of dimensions.



@cindex string
 

Begins and ends with the `@code{"}' character.  To include a `@code{"}'
character in a string write `@code{\"}'.  Various other backslash
sequences have special interpretations as in the C language.  A
string that contains no spaces can be written without the quotes. 
See section XREF-modes [FIXME] for details on unquoted strings; their
interpretation varies depending on the situation.  Strings can be
concatenated with the `@code{+}' operator.


The tokenizer accepts the following commands.  They can appear
anywhere.

@example
  \maininput@keyindex{maininput}
@end example

This command is used in init files to signal that the user file must
be read. This command cannot be used in a user file.

@example
  \include@keyindex{include} @var{file}
@end example

Include @var{file}.  The argument @var{file} may be a quoted string (an
unquoted string will not work here!) or a string identifier.  The full
filename including the @file{.ly} extension must be given,

@example
  \version@keyindex{version} @var{string} ;
@end example

Specify the version of LilyPond that a file was written for.  The
argument is a version string in quotes, for example @code{"1.2.0"}. 
This is used to detect invalid input, and to aid
@code{convert-mudela}, a tool that automatically upgrades input files.



@cindex other languages

@node notelang, , ,  Reference Manual

Note name definitions have been provided in various languages. 
Simply include the language specific init file.  For example:
`@code{\include "english.ly"}'.  The available language files and the
names they define are:

@quotation

@example 
                        Note Names               sharp       flat
nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
italiano.ly    do  re  mi  fa  sol la  sid si  -d          -b
catalan.ly     do  re  mi  fa  sol la  sid si  -d/-s       -b 
@end example 

@end quotation

Pitch names can be redefined using the
@code{\notenames}@keyindex{notenames} command, see
subsection XREF-notenames [FIXME].



@cindex lexical modes

@cindex modes

@node modes, , ,  Reference Manual

To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
special input modes on top of the default mode.  In each mode, words
are identified on the input.  If @code{"word"} is encountered, it is
treated as a string.  If @code{\word} is encountered, it is treated as
a keyword or as an identifier.  The behavior of the modes differs in
two ways: Different modes treat unquoted words differently, and
different modes have different rules for deciding what is a word.

@table @samp
  @item Normal mode.
@cindex mode!normal
 
    At the start of parsing, @emph{Mudela} is in Normal mode.  In Normal
    mode, a word is an alphabetic character followed by alphanumeric
    characters.  If @code{word} is encountered on the input it is
    treated as a string.

  @item Note mode.
@cindex mode!note

    Note mode is introduced by the keyword
    @code{\notes}@keyindex{notes}.  In Note mode, words can only
    contain alphabetic characters.  If @code{word} is encountered,
    LilyPond first checks for a notename of @code{word}.  If no
    notename is found, then @code{word} is treated as a string.

    Since combinations of numbers and dots are used for indicating
    durations, it is not possible to enter real numbers in this mode.

  @item Chord mode.
@cindex mode!chord

    Chord mode is introduced by the keyword
    @code{\chords}@keyindex{chords}.  It is similar to Note mode, but
    words are also looked up in a chord modifier table (containing
    @code{maj}, @code{dim}, etc).

    Since combinations of numbers and dots are used for indicating
    durations, you can not enter real numbers in this mode.  Dashes
    and carets are used to indicate chord additions and subtractions,
    so scripts can not be entered in Chord mode.

  @item Lyrics mode. 
@cindex mode!lyric

    Lyrics mode is introduced by the keyword
    @code{\lyrics}@keyindex{lyrics}.  This mode has rules that make it
    easy to include punctuation and diacritical marks in words.  A
    word in Lyrics mode begins with: an alphabetic character,
    `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
    control characters @code{^A} through @code{^F}, @code{^Q} through
    @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
    over 127, or a two-character combination of a backslash followed
    by one of `@code{`}', `@code{'}', `@code{"}', or
    `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
    enter lyrics in TeX format or a standard encoding without
    needing quotes.  The precise definition of this mode indeed is
    ludicrous.  This will remain so until the authors of LilyPond
    acquire a deeper understanding of character encoding, or someone
    else steps up to fix this.}

    Subsequent characters of a word can be any character that is not
    a digit and not white space.  One important consequence of this
    is that a word can end with `@code{@}}', which may be confusing if
    you thought the closing brace was going to terminate Lyrics
    mode.@footnote{LilyPond will issue a warning, though.}  Any
    `@code{_}' characters which appear in an unquoted word are
    converted to spaces.  This provides a mechanism for introducing
    spaces into words without using quotes.  Quoted words can also be
    used in Lyrics mode to specify words that cannot be written with
    the above rules.  Here are some examples.  Not all of these words
    are printable by TeX.


    @quotation

@example 
Ah!             % a word
2B_||_!2B       % not a word because it starts with a digit
``Hello''       % not a word because it starts with `
_ _ _ _         % 4 words, each one a space 
@end example 

    @end quotation

    Since combinations of numbers and dots are used for indicating
    durations, you can not enter real numbers in this mode.
@end table

It is possible to create words that break the rules by prefixing them
with the dollar sign `@code{$}@indexcode{$}'.  Regardless of the context, a
word beginning with `@code{$}' extends until the next white space
character.  Such words can contain numbers (even in Note mode), or
other forbidden characters.  The dollar sign can be used to create
and access identifiers that could not otherwise be used.@footnote{Use
of `@code{$}' hampers readability and portability to future LilyPond
versions, thus the use of the dollar sign is discouraged.}



@node Types, , ,  Reference Manual
@section Types

@cindex types and identifiers

@emph{Mudela} has a limited set of types:

@itemize @bullet
  @item  integers
  @item  reals
  @item  strings
  @item  music expressions
  @item  durations of notes and rests (specified with
       @code{\notenames}@keyindex{notenames})
  @item  note name tables
  @item  context definitions, part of output definitions.  See
       section XREF-contextdefs [FIXME] for more information
  @item  output definitions (like @code{\paper}@keyindex{paper} blocks
       and @code{\midi}@keyindex{midi} blocks)
  @item  score definitions (@code{\score}@keyindex{score} blocks)
@end itemize

Type is a syntactical property: @emph{Mudela} has no real type system,
so there is no support for generic expressions, functions, or user
defined types.  For the same reason, it is not possible to mix reals
and integers in arithmetic expressions, and ``type
errors''
@cindex type error
 (e.g., using a string identifier to
initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
error''.

Identifiers allow objects to be assigned to names.  To assign an
identifier, you use `@var{name}=@var{value}' and to refer to an
identifier, you preceed its name with a backslash:
`@code{\}@var{name}'.  Identifier assignments must appear at top level
in the @emph{Mudela} file.  Semicolons are forbidden after assignments
appearing at top level but they are obligatory after assignments
appearing in the @code{\paper} block, see Section XREF-paper [FIXME].

@var{value} is any of the types listed above.

An identifier can be created with any string for its name, but you
will only be able to refer to identifiers whose names begin with a
letter, being entirely alphanumeric.  It is impossible to refer to an
identifier whose name is the same as the name of a keyword.

The right hand side of an identifier assignment is parsed completely
before the assignment is done, so it is allowed to redefine an
identifier in terms of its old value, e.g.

@example
  foo = \foo * 2.0
@end example

When an identifier is referenced, the information it points to is
copied.  Therefore it only makes sense to put identifiers for
translators, output definitions, and @code{\score}@keyindex{score}
blocks as the first item in a block.  For this reason, if you
reference a @code{\foo} variable in a @code{\foo} block, it must be the
first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
\two@}} does not make sense, because the information of @code{\two}
would overwrite the information of @code{\one}, thereby making the
reference to the first identifier useless.}



@node Music expressions, , ,  Reference Manual
@section Music expressions

@cindex music expressions

Music in @emph{Mudela} is entered as a music expression.  Notes, rests,
lyric syllables are music expressions (the atomic
expressions)
@cindex atomic music expressions
, and you can combine
music expressions to form new ones.  This example forms a compound
expressions out of the quarter @code{c} note and a @code{d}
note:

@example 
\sequential @{ c4 d4 @} 
@end example 

The meaning of this compound expression is to play the `@code{c}'
first, and then the `@code{d}' (as opposed to playing them
simultaneously, for instance).

Atomic music expression are discussed in
subsection XREF-atomicmusic [FIXME].  Compound music expressions are
discussed in subsection XREF-compoundmusic [FIXME].



@node Atomic music expressions, , ,  Reference Manual
@section Atomic music expressions
@node atomicmusic, , ,  Reference Manual



@cindex pitch

@cindex duration
 

The syntax for pitch specification is


@example
  \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
@end example

@var{octave} is specified by an integer, zero for the octave
containing middle C.  @var{note} is a number from 0 to 7, with 0
corresponding to C and 7 corresponding to B.  The shift is zero for a
natural, negative to add flats, or positive to add sharps.

In Note and Chord mode, pitches may be designated by names.  See
section XREF-notelang [FIXME] for pitch names in different languages.

The syntax for duration specification is

@example
 \duration@keyindex{duration}
   @{ @var{length} @var{dotcount} @}
@end example

@var{length} is the negative logarithm (base 2) of the duration:
1 is a half note, 2 is a quarter note, 3 is an eighth
note, etc.  The number of dots after the note is given by
@var{dotcount}.

In Note, Chord, and Lyrics mode, durations may be designated by
numbers and dots.  See Section XREF-notelang [FIXME] for details.


@node notedesc, , ,  Reference Manual

@cindex note specification

@cindex pitches

@cindex entering notes

A note specification has the form

@example
  @var{pitch}[@var{octavespec}][!][?][@var{duration}]
@end example

The pitch of the note is specified by the note's name.


The default names are the Dutch note names.  The notes are specified
by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
octave below middle C and the letters span the octave above that C. 
In Dutchcindex(notenames!Dutch), a sharp is formed by adding
`@code{-is}' to the end of a pitch name.  A flat is formed by adding
`@code{-es}'. Double sharps and double flats are obtained by adding
`@code{-isis}' or `@code{-eses}'.  `@code{aes}' and `@code{ees}' are
contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
be accepted.

LilyPond has predefined sets of notenames for various languages.  See
section XREF-notelang [FIXME] for details.


The optional octave specification takes the form of a series of
single quote (`@code{'}@indexcode{'}') characters or a series of comma
(`@code{,}@indexcode{,}') characters.  Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave.

@mudela[fragment,verbatim,center]
  c' d' e' f' g' a' b' c''
@end mudela

@mudela[fragment,verbatim,center]
  cis' dis' eis' fis' gis' ais' bis'
@end mudela

@mudela[fragment,verbatim,center]
  ces' des' es' fes' ges' as' bes'
@end mudela

@mudela[fragment,verbatim,center]
  cisis' eisis' gisis' aisis' beses'
@end mudela

@mudela[fragment,verbatim,center]
  ceses' eses' geses' ases' beses'
@end mudela

Whenever a C-sharp is desired,  you must specify a C-sharp.  LilyPond
will determine what accidentals to typeset depending on the key and
context.  A reminder accidental 
@cindex reminder accidental
 can be
forced by adding an exclamation mark `@code{!}' after the pitch.  A
cautionary accidental, 
@cindex cautionary accidental
 i.e., an
accidental within parentheses can be obtained by adding the question
mark `@code{?}@indexcode{?}' after the pitch.

@mudela[fragment,verbatim,center]
  cis' d' e' cis'  c'? d' e' c'!
@end mudela


@cindex duration

Durations are entered as their reciprocal values.  For notes longer
than a whole note, use identifiers.

@quotation

@example 
c'\longa c'\breve  
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 
@end example 

@end quotation

@quotation

@mudela[]
\score {
  \notes \relative c'' {
    a\longa a\breve  
    a1 a2 a4 a8 a16 a32 a64 a64 
  }
  \paper {
    loose_column_distance = 2.5 * \interline;
    linewidth = -1.0;
    \translator {
      \type "Score_engraver";
      \name "Score";
      \consists "Note_heads_engraver";
      \consists "Stem_engraver";
      \consists "Rhythmic_column_engraver";
    }
  }
}
@end mudela
@end quotation

@quotation

@example 
r\longa r\breve  
r1 r2 r4 r8 r16 r32 r64 r64 
@end example 

@end quotation

@quotation

@mudela[]
\score {
  \notes \relative c'' {
    r\longa r\breve  
    r1 r2 r4 r8 r16 r32 r64 r64 
  }
  \paper {
    loose_column_distance = 2.5 * \interline;
    linewidth = -1.0;
    \translator {
      \type "Score_engraver";
      \name "Score";
      \consists "Rest_engraver";
      \consists "Stem_engraver";
      \consists "Rhythmic_column_engraver";
    }
  }
}
@end mudela
@end quotation

If the duration is omitted then it is set equal to the previous
duration.  If there is no previous duration, a quarter note is
assumed.  The duration can be followed by a dot (`@code{.}@indexcode{.}')
to obtain dotted note lengths.

@mudela[fragment,verbatim,center]
  a'4. b'4.
@end mudela

You can alter the length of duration by writing
`@code{*}@var{fraction}' after it.  This will not affect the
appearance of note heads or rests.


Rests are entered like notes, with note name `@code{r}@indexcode{r}',
or `@code{R}@indexcode{R}'.  There is also a note name `@code{s}@indexcode{s}',
which produces a space of the specified duration. 
`@code{R}' is specifically meant for entering parts: the @code{R} rest
can expand to fill a score with rests, or it can be printed as a
single multimeasure rest.


@cindex lyrics expressions

Syllables are entered like notes, with pitches replaced by text.  For
example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
with quarter note duration.  Note that the hyphen has no special
meaning for lyrics, and does not introduce special symbols.  See
section XREF-modes [FIXME] for a description of what is interpreted as
lyrics.

Spaces can be introduced into a lyric either by using quotes
(`@code{"}') or by using an underscore without quotes: `@code{He_could4
not4}'.  All unquoted underscores are converted to spaces.  Printing
lyrics is discussed in section XREF-lyricprint [FIXME].



@cindex properties

@example
  \property@keyindex{property}
    @var{contextname}.@var{propname} =  @var{value}
@end example

Sets the @var{propname} property of the context @var{contextname} to
the specified @var{value}.  All three arguments are strings. 
Depending on the context, it may be necessary to quote the strings or
to leave space on both sides of the dot.



@cindex translator switches

@example
  \translator@keyindex{translator}
    @var{contexttype} = @var{name}
@end example

A music expression indicating that the context which is a direct
child of the a context of type @var{contexttype} should be shifted to
a context of type @var{contexttype} and the specified name.

Usually this is used to switch staffs in Piano music, e.g.

@example
  \translator Staff = top @var{Music}
@end example



@cindex commands

Commands are music expressions that have no duration.   


@example

  @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
@end example

Change the key signature.  @var{type} should be
@code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively.  The second
argument is optional; the default is major keys.  The @var{\context}
argument can also be given as an integer, which tells the number of
semitones that should be added to the pitch given in the subsequent
@code{\key}@keyindex{key} commands to get the corresponding major key,
e.g., @code{\minor}@keyindex{minor} is defined as 3.  The standard
mode names @code{\ionian}@keyindex{ionian},
@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
are also defined.

@example

  @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
@end example

Specify an arbitrary key signature.  The pitches from @var{pitch} will
be printed in the key signature in the order that they appear on the
list.

        
@example
  \mark@keyindex{mark} @var{unsigned};
  \mark @var{string};
@end example

Prints a mark over or under (depending on the
@code{markDirection}@indexcode{markDirection} property) the staff.  You must add
@code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
this to work.

@node barlines, , ,  Reference Manual

@example
  \bar@keyindex{bar} @var{bartype};
@end example

This is a request to print a special bar symbol. It replaces the 
regular bar symbol with a special
symbol.  The argument @var{bartype} is a string which specifies the
kind of bar to print.  Options are @code{":|"}
@cindex "|A@@@code{:|}
,
@code{"|:"}
@cindex "|B@@@code{|:}
, @code{":|:"}
@cindex "|C@@@code{:|:}
,
@code{"||"}
@cindex "|D@@@code{||}
, @code{"|."}
@cindex "|E@@@code{|.}
,
@code{".|"}
@cindex "|F@@@code{.|}
, and @code{".|."}
@cindex "|G@@@code{.|.}
. 
These produce, respectively, a right repeat, a left repeat, a double
repeat, a double bar, a start bar, an end bar, and a thick double
bar.  If @var{bartype} is set to @code{"empty"} then nothing is
printed, but a line break is allowed at that spot.

You are encouraged to use @code{\repeat} for repetitions.
See section XREF-sec-repeats [FIXME].

 

@example
  \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
@end example

Music expression that toggles the automatic generation of bar lines. 
If @var{togglevalue} is 1, bar line generation is turned off.  If
@var{togglevalue} is 0, a bar line is immediately printed and 
automatic bar generation is turned on.

@example

  \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
@end example

Change the time signature.  The default time signature is 4/4. 
The time signature is used to generate bar lines.

@example

  \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
@end example

Used to specify the tempo.  For example, `@code{\tempo 4 = 76;}'
requests output with 76 quarter notes per minute.

@example

  \partial@keyindex{partial} @var{duration} @code{;}
@end example

@cindex anacrusis

@cindex upstep

This creates an incomplete measure (anacrusis, upbeat) at the start of 
the music, e.g., `@code{\partial 8*2;}' creates a starting measure 
lasting two eighth notes.

@example

  @code{|}@indexcode{|}
@cindex bar check

@end example

@cindex shorten measures

@cindex upstep

`@code{|}' is a barcheck.  Whenever a barcheck is encountered during
interpretation, a warning message is issued if it doesn't fall at a
measure boundary.  This can help you finding errors in the input. 
The beginning of the measure will be relocated, so this can also
be used to shorten measures.


@example

  \penalty@keyindex{penalty} @var{int} @code{;}
@end example

Discourage or encourage line breaks.  See identifiers
@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
section [on identifiers] [FIXME].

@example

  \clef@keyindex{clef} @var{clefname} @code{;}
@end example

Music expression that sets the current clef.  The argument is a
string which specifies the name of the clef.  Several clef names are
supported.  If `@code{_8}' or `@code{^8}' is added to the end of a clef
name, then the clef lowered or raised an octave will be generated. 
Here are the supported clef names with middle C shown in each
clef:

@quotation

@mudela[]
\score {
  \notes {
    \cadenza 1;
    %\property Voice.textStyle = typewriter
    \clef subbass;     c'4-"\kern -5mm subbass" 
    \clef bass;        c'4^"\kern -2mm bass"
    \clef baritone;    c'4_"\kern -5mm baritone"
    \clef varbaritone; c'4^"\kern -6mm varbaritone"
    \clef tenor;       c'4_"\kern -3mm tenor"
    \clef "G_8";       c'4^"\kern -2mm G\\_8" 
  }  
  \paper {
    linewidth = 4.5 \in;
  }
}
@end mudela
@end quotation

@quotation

@mudela[]
\score {
  \notes {
    \cadenza 1;
    \clef alto;         c'4_"\kern -2mm alto"
    \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
    \clef soprano;      c'4_"\kern -6mm soprano"
    \clef treble;       c'4^"\kern -4mm treble"
    \clef french;       c'4_"\kern -4mm french"
  }
  \paper {
    linewidth = 4.5 \in;
  }
}
@end mudela
@end quotation

The three clef symbols can also be obtained using the names `@code{G}', 
`@code{C}' or `@code{F}', optionally followed by an integer which 
indicates at which note line the clef is located. An as example, the 
@code{mezzosoprano} clef can also be given as `@code{C2}'.

@example

  \skip@keyindex{skip} @var{duration} @code{;}
@end example

Skips the amount of time specified by @var{duration}.  If no other
music is played, a gap will be left for the skipped time with no
notes printed.  It works in Note Mode or Lyrics Mode.  In Note mode,
this has the same effect as the space rest `@code{s}'.


@cindex beams

@node manualbeam, , ,  Reference Manual

A beam is specified by surrounding the beamed notes with brackets
`@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.  

@mudela[fragment,verbatim,center]
  [a'8 a'] [a'16 a' a' a']
@end mudela

Some more elaborate constructions:

@mudela[fragment,verbatim,center]
  [a'16 <a' c''> c'' <a' c''>]
  \times 2/3 { [e'8 f' g'] }
@end mudela

Beaming can be generated automatically; see section XREF-autobeam [FIXME].

To place tremolo marks 
@cindex tremolo beams
 between two notes, begin
with `@code{[:}@var{length}' and end with `@code{]}'.  Tremolo marks
will appear instead of beams.  Putting more than two notes in such a
construction will produce odd effects.  To create tremolo beams on a
single note, simply attach `@code{:}@var{length}' to the note itself
(see also section XREF-tremolo [FIXME]).
  
@mudela[fragment,verbatim,center]
  [:16 e'1 g'] [:8 e'4 f']
@end mudela
  
@mudela[fragment,verbatim,center]
  c'4:32 [:16 c'8 d'8]
@end mudela


@cindex --@@@code{-}@code{-}

@indexcode{__}

@cindex extender

@cindex hyphen

The syntax for an extender mark is `@code{__}'.  This syntax can only
be used within lyrics mode.  The syntax for a spanning hyphen (i.e.,
a hyphen that will be printed between two lyric syllables) is
`@code{-}@code{-}'.


@cindex ties

A tie connects two adjacent note heads of the same pitch.  When used
with chords, it connects all of the note heads whose pitches match.
Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
If you try to tie together chords which have no common pitches, a
warning message will appear and no ties will be created.

@mudela[fragment,verbatim,center]
  e' ~ e' <c' e' g'> ~ <c' e' g'>
@end mudela



[TODO: explain Requests]


@cindex articulations

@cindex scripts

@cindex ornaments

A variety of symbols can appear above and below notes to indicate
different characteristics of the performance.  These symbols can be
added to a note with `@var{note}@code{-\}@var{name}'.  Numerous symbols
are defined in @file{script.ly} and @file{script.scm}.  Symbols can be
forced to appear above or below the note by writing
`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
respectively.  Here is a chart showing symbols above notes, with the
name of the corresponding symbol appearing underneath.

@mudela[]

  \score {
    < \notes {
        c''-\accent      c''-\marcato      c''-\staccatissimo c''-\fermata 
        c''-\stopped     c''-\staccato     c''-\tenuto        c''-\upbow
        c''-\downbow     c''^\lheel        c''-\rheel         c''^\ltoe
        c''-\rtoe        c''-\turn         c''-\open          c''-\flageolet
        c''-\reverseturn c''-\trill        c''-\prall         c''-\mordent
        c''-\prallprall  c''-\prallmordent c''-\upprall       c''-\downprall
        c''-\thumb       c''-\segno        c''-\coda
      }
      \context Lyrics \lyrics {  
        accent__      marcato__      staccatissimo__ fermata
        stopped__     staccato__     tenuto__        upbow
        downbow__     lheel__        rheel__         ltoe
        rtoe__        turn__         open__          flageolet
        reverseturn__ trill__        prall__         mordent
        prallprall__  prallmordent__ uprall__        downprall
        thumb__       segno__        coda
      }
    >
    \paper {
      linewidth = 5.875\in;          
      indent    = 0.0;
    }
  }

@end mudela

In addition, it is possible to place arbitrary strings of text or
TeX above or below notes by using a string instead of an
identifier: `@code{c^"text"}'.  Fingerings 
@cindex fingering
 can be
placed by simply using digits.  All of these note ornaments appear in
the printed output but have no effect on the MIDI rendering of the
music.

To save typing, fingering instructions (digits 0 to 9 are
supported) and single characters shorthands exist for a few
common symbols

@mudela[]

  \score {
    \notes {
      \property Voice.textStyle = typewriter
      c''4-._"c-."      s4
      c''4--_"c-{}-"    s4
      c''4-+_"c-+"      s4
      c''4-|_"c-|"      s4
      c''4->_"c->"      s4
      c''4-^_"c-\\^{ }" s4
      c''4-1_"c-1"      s4
      c''4-2_"c-2"      s4
      c''4-3_"c-3"      s4
      c''4-4_"c-4"      s4
    }
    \paper {
      linewidth = 5.875 \in;
      indent    = 0.0;
    }
  }

@end mudela

Dynamic marks are specified by using an identifier after a note:
`@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.  
The available dynamic marks are:
@code{\ppp}@keyindex{ppp},
@code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
@code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
@code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
@code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
@code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
@code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
@code{\rfz}@keyindex{rfz}.


@example

  \textscript@keyindex{textscript} @var{text} @var{style}
@end example

Defines a text to be printed over or under a note.  @var{style} is a
string that may be one of @code{roman}, @code{italic}, @code{typewriter}, 
@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.

You can attach a general textscript request using this syntax:

@quotation

@example 
c4-\textscript "6" "finger"
c4-\textscript "foo" "normal" 
@end example 

@end quotation

This is equivalent to `@code{c4-6 c4-"foo"}'.  


@cindex scripts

@example

  \script@keyindex{script} @var{alias}
@end example

Prints a symbol above or below a note.  The argument is a string
which points into the script-alias table defined in @file{script.scm}.
The scheme definitions specify whether the symbol follows notes into
the staff, dependence of symbol placement on staff direction, and a
priority for placing several symbols over one note.  Usually the
@code{\script}@keyindex{script} keyword is not used directly.  Various
helpful identifier definitions appear in @file{script.ly}.


@cindex slur

Slurs connects chords and try to avoid crossing stems.  A slur is
started with `@code{(}' and stopped with `@code{)}'.  The
starting `@code{(}' appears to the right of the first note in
the slur.  The terminal `@code{)}' appears to the left of the
first note in the slur.  This makes it possible to put a note in
slurs from both sides:

@mudela[fragment,verbatim,center]
  f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
@end mudela


@cindex crescendo

A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
with @code{\rc}@keyindex{rc}.  A decrescendo mark is started with
@code{\decr}@keyindex{decr} and terminated with
@code{\rced}@keyindex{rced}.  There are also shorthands for these
marks.  A crescendo can be started with @code{\<}@keyindex{<} and a
decrescendo can be started with @code{\>}@keyindex{>}.  Either one can
be terminated with @code{\!}@keyindex{"!}.  Note that @code{\!}
must go before the last note of the dynamic mark whereas @code{\rc}
and @code{\rced} go after the last note.  Because these marks are
bound to notes, if you want to get several marks during one note, you
must use spacer notes.

@mudela[fragment,verbatim,center]
  c'' \< \! c''   d'' \decr e'' \rced 
  < f''1 { s4 \< \! s2 \> \! s4 } >
@end mudela


@example

  \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
@end example

Define a spanning request. The @var{startstop} parameter is either -1
(@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
@var{type} is a string that describes what should be started.
Supported types are @code{crescendo}, @code{decrescendo},
@code{beam}, @code{slur}.  This is an internal command.  Users should
use the shorthands which are defined in the initialization file
@file{spanners.ly}.

You can attach a (general) span request to a note using

@mudela[fragment,verbatim,center]
  c'4-\spanrequest \start "slur"
  c'4-\spanrequest \stop "slur"
@end mudela

The slur syntax with parentheses is a shorthand for this.



@cindex tremolo marks

@node tremolo, , ,  Reference Manual

Tremolo marks can be printed on a single note by adding
`@code{:}[@var{length}]' after the note.  The length must be at
least 8.  A @var{length} value of 8 gives one line across
the note stem.  If the length is omitted, then the last value is
used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
no last value.

@mudela[verbatim,fragment,center]
  c'2:8 c':32
@end mudela



@node Compound music expressions, , ,  Reference Manual
@section Compound music expressions

@cindex compound music expressions

@node compoundmusic, , ,  Reference Manual

Music expressions are compound data structures.  You can nest music
expressions any way you like.  This simple example shows how three
chords can be expressed in two different ways:

@mudela[fragment,verbatim,center]
  \notes \context Staff {
    \cadenza 1;
    <a c'> <b  d' > <c' e' >
    <{a b  c'}{c' d' e'}>
  }
@end mudela



@cindex context selection

@example

  \context@keyindex{context}
    @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr}
@end example

Interpret @var{musicexpr} within a context of type @var{contexttype}. 
If the context does not exist, it will be created.  The new context
can optionally be given a name.  See
section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
information on interpretation contexts.



@cindex input modes

@cindex mode switch

Mode switching keywords form compound music expressions: @code{\notes}
@keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
@var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}. 
These expressions do not add anything to the meaning of their
arguments.  They are just a way to indicate that the arguments should
be parsed in indicated mode.  See section XREF-modes [FIXME] for more
information on modes.

More information on context selection can be found in
section XREF-contextselection [FIXME].



@cindex sequential music



@example

  \sequential@keyindex{sequential}
    @code{@{} @var{musicexprlist} @code{@}}
@end example

This means that list should be played or written in sequence, i.e.,
the second after the first, the third after the second.  The duration
of sequential music is the the sum of the durations of the elements. 
There is a shorthand, which leaves out the keyword:

@example

  @code{@{} @var{musicexprlist} @code{@}}
@end example



@cindex simultaneous music

@indexcode{<}
@indexcode{>}

@example

  \simultaneous@keyindex{simultaneous}
    @code{@{} @var{musicexprlist} @code{@}}
@end example

It constructs a music expression where all of its arguments start at
the same moment.  The duration is the maximum of the durations of the
elements.  The following shorthand is a common idiom:

@example

  @code{<} @var{musicexprlist} @code{>}
@end example

If you try to use a chord as the first thing in your score, you might
get multiple staffs instead of a chord.

@mudela[verbatim,center]
  \score {
    \notes <c''4 e''>
    \paper {
      linewidth = -1.;
    }
  }
@end mudela

This happens because the chord is interpreted by a score context.
Each time a note is encountered a default Voice context (along with a
Staff context) is created.  The solution is to explicitly instantiate
a Voice context:

@mudela[verbatim,center]
  \score {
    \notes\context Voice <c''4 e''>
    \paper {
      linewidth = -1.;
    }
  }
@end mudela



@cindex relative pitch specification

@node relative, , , Reference Manual

It is easy to get confused by octave changing marks and accidentally
putting a pitch in the wrong octave.  A much better way of entering a
note's octave is `the relative octave' mode.

@example

  \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
@end example

The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or
less.@footnote{The interval is determined without regarding
accidentals.  A @code{fisis} following a @code{ceses} will be put above
the @code{ceses}.}  The octave changing marks `@code{'}' and `@code{,}'
can then be added to raise or lower the pitch by an extra octave. 
Upon entering relative mode, an absolute starting pitch must be
specified that will act as the predecessor of the first note of
@var{musicexpr}.

Entering scales is straightforward in relative mode.

@mudela[fragment,verbatim,center]
  \relative c' {
    c d e f g a b c c,
  }
@end mudela

And octave changing marks are used for intervals greater than a fourth.

@mudela[fragment,verbatim,center]
  \relative c'' {
    c g c f, c' a, e'' }
@end mudela

If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord.  But other notes
within the second chord are determined by looking at the immediately
preceding note.

@mudela[fragment,verbatim,center]
  \relative c' {
    c <c e g> 
    <c' e g>
    <c, e' g>
  }
@end mudela 

The pitch after the @code{\relative} contains a notename.  To parse
the pitch as a notename, you have to be in note mode, so there must
be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
shown here).

The relative conversion will not affect @code{\transpose} or
@code{\relative} sections in its argument.  If you want to use
relative within transposed music, you must place an additional
@code{\relative} inside the @code{\transpose}.

It is strongly recommended to use relative pitch mode: less work,
less error-prone, and more readable.



Chord names are a way to generate simultaneous music expressions that
correspond with traditional chord names.  It can only be used in
Chord mode (see section XREF-modes [FIXME]).

@example

  @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
@end example

@var{tonic} should be the tonic note of the chord, and @var{duration}
is the chord duration in the usual notation.  There are two kinds of
modifiers.  One type is @emph{chord additions}, which are obtained by
listing intervals separated by dots.  An interval is written by its
number with an optional `@code{+}' or `@code{-}' to indicate raising or
lowering by half a step.  Chord additions has two effects: It adds
the specified interval and all lower odd numbered intervals to the
chord, and it may lower or raise the specified interval.  Intervals
must be separated by a dot (`@code{.}').

@quotation

@mudela[fragment,verbatim]
\transpose c'' {
  \chords {
    c1  c-3-       c-7     c-8
    c-9 c-9-.5+.7+ c-3-.5- c-4.6.8
  }
}

@end mudela
@end quotation

The second type of modifier that may appear after the `@code{-}' is a
named modifier.  Named modifiers are listed in the file
@file{chord-modifiers.ly}.  The available modifiers are `@code{m}' and
`@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
`@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
which replaces the 5th with a 4th.

@quotation

@mudela[fragment,verbatim]
\transpose c'' {
  \chords {
    c1-m c-min7 c-maj c-aug c-dim c-sus
  }
}

@end mudela
@end quotation
 

Chord subtractions are used to eliminate notes from a chord.  The
notes to be subtracted are listed after a `@code{^}' character,
separated by dots.

@mudela[fragment,verbatim,center]
  \transpose c'' {
    \chords {
      c1^3 c-7^5.3 c-8^7
    }
  }
@end mudela 

Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
the name of a single note to a chord.  This has the effect of
lowering the specified note by an octave so it becomes the lowest
note in the chord.  If the specified note is not in the chord, a
warning will be printed.

@mudela[fragment,verbatim,center]
  \transpose c''' {
    \chords {
      c1 c/e c/g c-7/e
    }
  }

@end mudela 

Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.

You should not combine @code{\relative} with named chords. 



@cindex tuplets

Tuplets are made out of a music expression by multiplying their
duration with a fraction.

@example

  \times@keyindex{times} @var{fraction} @var{musicexpr}
@end example

The duration of @var{musicexpr} will be multiplied by the fraction. 
In print, the fraction's denominator will be printed over the notes,
optionally with a bracket.  The most common tuplet is the triplet in
which 3 notes have the length of 2, so the notes are 2/3 of
their written length:

@mudela[fragment,verbatim,center]
  g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end mudela



@cindex grace notes

@example

  \grace@keyindex{grace} @var{musicexpr}
@end example

A grace note expression has duration 0; the next real note is
assumed to be the main note.

You cannot have the grace note after the main note, in terms of
duration, and main notes, but you can typeset the grace notes to the
right of the main note using the property
@code{graceAlignPosition}@indexcode{graceAlignPosition}.

When grace music is interpreted, a score-within-a-score is set up:
@var{musicexpr} has its own time bookkeeping, and you could (for
example) have a separate time signature within grace notes.  While in
this score-within-a-score, you can create notes, beams, slurs, etc.
Unbeamed eighth notes and shorter by default have a slash through the
stem.  This behavior can be controlled with the
@code{stemStyle}@indexcode{stemStyle} property.

@quotation

@mudela[fragment,verbatim]
\relative c'' {
  \grace c8 c4 \grace { [c16 c16] } c4
  \grace { \property Grace.stemStyle = "" c16 } c4
}

@end mudela
@end quotation

At present, nesting @code{\grace}@keyindex{grace} notes, e.g.

@example

  @code{\grace @{ \grace c32 c16 @} c4}
@end example

may result in run-time errors of LilyPond.  Since the meaning of such
a construct is unclear, we don't consider this a loss.  Similarly,
juxtaposing two @code{\grace} sections is syntactically valid, but
makes no sense and may cause runtime errors.

Ending a staff or score with grace notes may also generate a run-time
error, since there will be no main note to attach the grace notes to.



@cindex repeats

@node sec-repeats, , , Reference Manual

In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
keyword.  Since repeats look and sound differently when played or
printed, there are a few different variants of repeats.

@table @samp
  @item unfolded  
    Repeated music is fully written (played) out.  Useful for MIDI
    output.

  @item volta  
    This is the normal notation: Repeats are not written out, but
    alternative endings (voltas) are printed, left to right.

  @item folded  
    Alternative endings are written stacked, which is useful for
    lyrics.
@end table  

The syntax for repeats is

@example

  \repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example

If you have alternative endings, you may add

@example

  \alternative@keyindex{alternative}
    @code{@{} @var{alternative1}
            @var{alternative2}
            @var{alternative3} @dots{} @code{@}}
@end example

where each @var{alternative} is a Music expression.

Normal notation repeats are used like this:

@quotation

@mudela[fragment,verbatim]
  c'1
  \repeat volta 2 { c'4 d' e' f' }
  \repeat volta 2 { f' e' d' c' }

@end mudela
@end quotation

With alternative endings:

@quotation

@mudela[fragment,verbatim]
  c'1
  \repeat volta 2 {c'4 d' e' f'} 
  \alternative { {d'2 d'} {f' f} }

@end mudela
@end quotation

Folded repeats look like this:@footnote{Folded repeats offer little
more over simultaneous music.  However, it is to be expected that
more functionality -- especially for the MIDI backend -- will be
implemented.}

@quotation

@mudela[fragment,verbatim]
  c'1
  \repeat fold 2 {c'4 d' e' f'} 
  \alternative { {d'2 d'} {f' f} }

@end mudela
@end quotation

@quotation

@mudela[fragment,verbatim]
\context Staff {
  \relative c' {
    \partial 4;
    \repeat volta 2 { e | c2 d2 | e2 f2 | }
    \alternative { { g4 g g } { a | a a a a | b1 } }
  }
}

@end mudela
@end quotation

If you don't give enough alternatives for all of the repeats, then
the first alternative is assumed to be repeated often enough to equal
the specified number of repeats.

@quotation

@mudela[fragment,verbatim]
\context Staff {
  \relative c' {
    \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
    \alternative { { g4 g g }
                   {\partial 1; e4 e e } 
                   {\partial 1; a a a a | b1 } }
  }
}

@end mudela
@end quotation

It is possible to nest @code{\repeat}.  This is not entirely
supported: the notes will come be in the right places, but the repeat
bars will not.



@cindex transposition of pitches

@node transpose, , , Reference Manual

A music expression can be transposed with
@code{\transpose}@keyindex{transpose}.  The syntax is

@example

  \transpose @var{pitch} @var{musicexpr}
@end example

This means that middle C in @var{musicexpr} is transposed to
@var{pitch}.

@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose cis'} or @code{\transpose des'} will transpose up half
a tone.  The first version will print sharps and the second version
will print flats.

@quotation

@mudela[fragment,verbatim]
\context Staff {
  \clef "F";
  { \key e; c d e f }
  \clef "G";
  \transpose des'' { \key e; c d e f }
  \transpose cis'' { \key e; c d e f }
}

@end mudela
@end quotation

If you want to use both @code{\transpose} and @code{\relative}, then
you must use @code{\transpose} first.  @code{\relative} will have no
effect music that appears inside a @code{\transpose}.



@cindex automatic lyric durations

If you have lyrics that are set to a melody, you can import the
rhythm of that melody into the lyrics using @code{\addlyrics}.
@keyindex{addlyrics} The syntax for this is

@example

  \addlyrics @var{musicexpr1 musicexpr2}
@end example

This means that both @var{musicexpr1} and @var{musicexpr2} are
interpreted, but that every non-command atomic music expression
(``every syllable'') in @var{musicexpr2} is interpreted using timing
of @var{musicexpr1}.

If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
context of @var{musicexpr1}, no lyrics will be put on slurred or tied
notes.

@quotation

@mudela[verbatim,fragment]
\addlyrics
\transpose c'' {
  \property Voice.automaticMelismata = "1"
  c8 () cis d8. e16 f2
}
\context Lyrics \lyrics {
 do4 re mi fa }

@end mudela
@end quotation

You should use a single rhythm melody, and single rhythm lyrics (a
constant duration is the obvious choice).  If you do not, you will get
undesired effects when using multiple stanzas:

@quotation

@mudela[verbatim,fragment]
\addlyrics
\transpose c'' {
  c8 () cis d8. e16 f2
}
\context Lyrics \lyrics
< { do4 re mi fa }
  { do8 re mi fa } >

@end mudela
@end quotation

It is valid (but probably not very useful) to use notes instead of
lyrics for @var{musicexpr2}.




@node Ambiguities, , ,  Reference Manual
@section Ambiguities

@cindex ambiguities

The grammar contains a number of ambiguities.@footnote{The authors
hope to resolve them at a later time.}

@itemize @bullet
  @item  The assignment

         @example 
foo = bar 
@end example 

       can be interpreted as making a string identifier @code{\foo}
       containing @code{"bar"}, or a music identifier @code{\foo}
       containing the syllable `bar'.

  @item  The assignment

         @example 
foo = -6 
@end example 

       can be interpreted as making an integer identifier
       containing -6, or a Request identifier containing the
       fingering `6' (with neutral direction).

  @item  If you do a nested repeat like

       @quotation

@example 
\repeat @dots{}
\repeat @dots{}
\alternative 
@end example 

       @end quotation

       then it is ambiguous to which @code{\repeat} the
       @code{\alternative} belongs.  This is the classic if-then-else
       dilemma.  It may be solved by using braces.

  @item  (an as yet unidentified ambiguity :-)
@end itemize



@node Notation conversion specifics, , ,  Reference Manual
@section Notation conversion specifics



@cindex automatic beam generation

@node autobeam, , ,  Reference Manual

By default, LilyPond will generate beams automatically.  This feature
can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
property to 1.  It can be overridden for specific cases by
specifying explicit beams as described in
section XREF-manualbeam [FIXME].

A large number of Voice properties are used to decide how to generate
beams.  Their default values appear in @file{auto-beam-settings.ly}.
In general, beams can begin anywhere, but their ending location is
significant.  Beams can end on a beat, or at durations specified by
the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property.  To end beams every
quarter note, for example, you could set
@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'.  To end beams
at every three eighth notes you would set it to `@code{"3/8"}'.  The
same syntax can be used to specify beam starting points using
@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.

To allow different settings for different time signatures, these
property names can start with `@code{time}@var{N}@code{_}@var{M}' to
restrict the definition to `@var{N}@code{/}@var{M}' time.  For example,
to specify beams ending only for 6/8 time you would use the
property @code{Voice.time6_8beamAutoEnd}.  To allow different endings
for notes of different durations, the duration can be tacked onto the
end of the property.  To specify beam endings for beams that contain
32nd notes, you would use @code{Voice.beamAutoEnd_32}.



@cindex chord names

@cindex chords

@cindex printing!chord names

For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts.  The chords may be entered
either using the notation described above, or directly using
simultaneous music.

@quotation

@mudela[fragment,verbatim]
<
  \context ChordNames {
    \chords{a b c} \notes{<d f g>  <e g b>}
  }
  \context Staff \notes {
    a b c' d' e'
  }
>

@end mudela
@end quotation

LilyPond examines chords specified as lists of notes to determine a
name to give the chord.  By default, LilyPond will not try to
identify chord inversions:

@mudela[fragment,verbatim,center]
  <
    \context ChordNameVoice \notes {
      <e'1 g' c''>
    }
    \context Thread \notes {
      <e'1 g' c''>
    }
  >
@end mudela

If you want inversions to be recognized, you must set the property
@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:

@mudela[fragment,verbatim,center]
  <
    \property Score.chordInversion = 1
    \context ChordNameVoice \notes {
      <e'1 g' c''>
    }
    \context Thread \notes {
      <e'1 g' c''>
    }
  >
@end mudela



@cindex lyrics

@cindex printing!lyrics

@node lyricprint, , ,  Reference Manual

Lyric syllables must be interpreted within a @code{Lyrics} context

@cindex context!Lyrics
 for printing them.

Here is a full example: 

@quotation

@mudela[verbatim]
\score {
  <
    \notes \transpose c'' {
      c d e c | c d e c |
      e f g2 | e4 f g2 \bar "|.";
    }
    \context Lyrics \lyrics { 
      Va-4 der Ja- cob Va- der Ja- cob
      Slaapt gij nog?2 Slaapt4 gij nog?2
    }
  >
}

@end mudela
@end quotation

You may want a continuous line after the syllables to show melismata. 
To achieve this effect, add a `@code{__}' lyric as a separate word
after the lyric to be extended.  This will create an extender, a line
that extends over the entire duration of the lyric.  This line will
run all the way to the start of the next lyric, so you may want to
shorten it by using a blank lyric (using `@code{_}').

@quotation

@mudela[verbatim]
\score {
  <
    \notes \relative c'' {
      a4 () b () c () d | c () d () b () a | c () d () b () a
    }
    \context Lyrics \lyrics {
      foo1 __ | bar2. __ _4 | baz1 __
    }
  >
}

@end mudela
@end quotation

     
If you want to have hyphens centered between syllables (rather than
attached to the end of the first syllable) you can use the special
`@code{-}@code{-}' lyric as a separate word between syllables.  This
will result in a hyphen which length varies depending on the space
between syllables, and which will be centered between the syllables. 
For example:

@quotation

@mudela[verbatim]
\score {
  <
    \notes \transpose c'' {
      c d e c | c d e c |
      e f g2 | e4 f g2 \bar "|.";
    }
    \context Lyrics \lyrics {
      Va4 -- der Ja -- cob | Va -- der Ja -- cob |
      Slaapt gij nog?2 | Slaapt4 gij nog?2
    }
  >
}

@end mudela
@end quotation



@node Notation Contexts, , ,  Reference Manual
@section Notation Contexts

@cindex notation contexts

Notation contexts are objects that only exist during a run of
LilyPond.  During the interpretation phase of LilyPond, the Music
expression contained in a @code{\score} block is interpreted in time
order.  This is the order in which humans read, play, and write
music.

A context is an object that holds the reading state of the
expression; it contains information like

@itemize @bullet
  @item  What notes are playing at this point?
  @item  What symbols will be printed at this point?
  @item  In what style will they printed?
  @item  What is the current key signature, time signature, point within
       the measure, etc.?
@end itemize

Contexts are grouped hierarchically: A @code{Voice} context is
contained in a @code{Staff} context (because a staff can contain
multiple voices at any point), a @code{Staff} context is contained in
a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
these can all contain multiple staffs).

Contexts associated with sheet music output are called @emph{notation
contexts}, those for sound output are called playing contexts.

Contexts are created either manually or automatically.  Initially,
the top level music expression is interpreted by the top level
context (the @code{Score} context).  When a atomic music expression
(i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
set of contexts is created that can process these atomic expressions,
as in this example:

@example

  @example 
\score @{ \notes < c4 > @} 
@end example 

@end example

The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
context. When the note `@code{c4}' itself is interpreted, a set of
contexts is needed that will accept notes.  The default for this is a
@code{Voice} context, contained in a @code{Staff} context.  Creation of
these contexts results in the staff being printed.


@node contextselection, , ,  Reference Manual

@cindex context

You can also create contexts manually, and you probably have to do so
if you want to typeset complicated multiple part material.  If a
`@code{\context} @var{name} @var{musicexpr}' expression is encountered
during the interpretation phase, the @var{musicexpr} argument will be
interpreted with a context of type @var{name}.  If you specify a name,
the specific context with that name is searched.

If a context of the specified type and name can not be found, a new
one is created.  For example,

@quotation

@mudela[verbatim]
\score {
  \notes \relative c'' {
    c4 <d4 \context Staff = "another" e4> f
  }
}

@end mudela
@end quotation

In this example, the @code{c} and @code{d} are printed on the
default staff.  For the @code{e}, a context Staff called
`@code{another}' is specified; since that does not exist, a new
context is created.  Within @code{another}, a (default) Voice context
is created for the @code{e4}.  When all music referring to a
context is finished, the context is ended as well.  So after the
third quarter, @code{another} is removed.

Almost all music expressions inherit their interpretation context
from their parent.  In other words, suppose that the syntax for a
music expression is

@example

  \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
@end example

When the interpretation of this music expression starts, the context
for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
expression.

Lastly, you may wonder, why this:

@quotation

@example 
\score @{
  \notes \relative c'' @{
    c4 d4 e4
  @}
@} 
@end example 

@end quotation

doesn't result in this:

@mudela[]

  \score {
    \notes \relative c'' {
      <c4> <d4> <e4>
    }
  }

@end mudela

For the @code{c4}, a default @code{Staff} (with a contained
@code{Voice}) context is created.  After the @code{c4} ends, no
music refers to this default staff, so it would be ended, with the
result shown.  To prevent this inconvenient behavior, the context to
which the sequential music refers is adjusted during the
interpretation.  So after the @code{c4} ends, the context of the
sequential music is also the default @code{Voice} context. 
The @code{d4} gets interpreted in the same context
as @code{c4}.



These are the contexts supplied with the package.  They are defined
in the initialization file @file{ly/engraver.ly}.

@table @samp
  @item @code{Grace}@indexcode{Grace} 
    The context for handling grace notes.  It is instantiated
    automatically when you use @code{\grace}.  Basically, it is an
    `embedded' miniature of the Score context.  Since this context
    needs special interaction with the rest of LilyPond, you should
    not explicitly instantiate it.

  @item @code{LyricVoice}@indexcode{LyricVoice}  
    Corresponds to a voice with lyrics.  Handles the printing of a
    single line of lyrics.

  @item @code{Thread}@indexcode{Thread}  
    Handles note heads, and is contained in the Voice context.  You
    have to instantiate this explicitly if you want to adjust the
    style of individual note heads.

  @item @code{Voice}@indexcode{Voice}  
    Corresponds to a voice on a staff.  This context handles the
    conversion of dynamic signs, stems, beams, super- and subscripts,
    slurs, ties, and rests.

    You have to instantiate this explicitly if you want to have
    multiple voices on the same staff.

  @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}  
    A voice with chord names.  Handles printing of a line of chord
    names.

  @item @code{ChordNames}@indexcode{ChordNames}  
    Typesets chord names.  Can contain @code{ChordNamesVoice}
    contexts.

  @item @code{Lyrics}@indexcode{Lyrics}  
    Typesets lyrics.  It can contain @code{LyricVoice} contexts.

  @item @code{Staff}@indexcode{Staff}  
    Handles clefs, bar lines, keys, accidentals.  It can contain
    @code{Voice} contexts.

  @item @code{RhythmicStaff}@indexcode{RhythmicStaff}  
    A context like @code{Staff} but for printing rhythms.  Pitches are
    ignored; the notes are printed on one line.  It can contain
    @code{Voice} contexts.

  @item @code{GrandStaff}@indexcode{GrandStaff}  
    Contains @code{Staff} or @code{RhythmicStaff} contexts.  It adds a
    brace on the left side, grouping the staffs together.  The bar
    lines of the contained staffs are connected vertically.  It can
    contain @code{Staff} contexts.

  @item @code{PianoStaff}@indexcode{PianoStaff}  
    Just like @code{GrandStaff} but with @code{minVerticalAlign} set
    equal to @code{maxVerticalAlign} so that interstaff beaming and
    slurring can be used.

  @item @code{StaffGroup}@indexcode{StaffGroup}  
    Contains @code{Staff} or @code{RhythmicStaff} contexts.  Adds a
    bracket on the left side, grouping the staffs together.  The bar
    lines of the contained staffs are connected vertically.  It can
    contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
    @code{Lyrics} contexts.

  @item @code{ChoirStaff}@indexcode{ChoirStaff}  
    Identical to @code{StaffGroup} except that the contained staffs
    are not connected vertically.

  @item @code{Score}@indexcode{Score}  
    This is the top level notation context.  No other context can
    contain a @code{Score} context.  This context handles the
    administration of time signatures.  It also makes sure that items
    such as clefs, time signatures, and key-signatures are aligned
    across staffs.  It can contain @code{Lyrics}, @code{Staff},
    @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
    @code{ChoirStaff} contexts.

    You cannot explicitly instantiate a Score context (since it is
    not contained in any other context).  It is instantiated
    automatically when an output definition (a @code{\score} or
    @code{\paper} block) is processed.
@end table



Properties that are set in one context are inherited by all of the
contained contexts.  This means that a property valid for the
@code{Voice} context can be set in the @code{Score} context (for
example) and thus take effect in all @code{Voice} contexts.

Properties can be preset within the @code{\translator} block
corresponding to the appropriate context.  In this case, the syntax
is

@example

  @var{propname} @code{=} @var{value}
@end example

This assignment happens before interpretation starts, so a
@code{\property} expression will override any predefined settings.

The @code{\property} expression will create any property you specify.
There is no guarantee that a property will be used.  So if you spell
a property name wrong, there will be no error message.

The property settings are used during the interpretation phase.  They
are read by the LilyPond modules where interpretation contexts are
built of.  These modules are called @emph{translators}.  Translators for
notation are called @emph{engravers}, and translators for sound are
called @emph{performers}.

The precise result of a property is determined by the implementation
of the translator that reads them.  Therefore, the result of a
property can vary, since it is implementation and configuration
dependent.

In order to fully find out what properties are used, you must
currently search the source code for calls to @code{get_property}. 
The rest of the section is devoted to an (incomplete) overview of
available properties.


@cindex properties!Lyrics

@table @samp
  @item @code{textStyle}@indexcode{textStyle}  
    Set the font for lyrics.  The available font choices are
    @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large},
    @code{typewriter}, and @code{finger}.  The @code{finger} font can
    only display numbers.  Note also that you must be careful when
    using @code{\property} in Lyrics mode, because of the way strings
    are parsed.  Either put quotes around the arguments to
    @code{\property} or be sure to leave a space on both sides of the
    dot.
@end table


@cindex properties!Thread

@table @samp
  @item @code{noteheadStyle}@indexcode{noteheadStyle}  
    Selects type of note head.  Choices are @code{cross},
    @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}. 
    They are shown in that order below.

    @mudela[center]

      \score {
        \notes { 
          \property Staff.barNonAuto = 1
          \property Voice.noteHeadStyle = cross 
          a'
          \property Voice.noteHeadStyle = diamond
          a'
          \property Voice.noteHeadStyle = harmonic
          a'
          \property Voice.noteHeadStyle = transparent
          a' 
          \property Voice.noteHeadStyle = ""
          a'
        }
        \paper {
          linewidth = -1.;
        }
      }
    
@end mudela
@end table

@subsubheading Grace properties

@cindex properties!Grace

 
@table @samp  
  @item @code{stemStyle}@indexcode{stemStyle}  
    By default set to @code{"grace"} meaning that all unbeamed 
    notes with flags are typeset with a slash through the flag. 
    Setting to @code{""} gives standard flags.
@end table


@subsubheading Voice properties

@cindex properties!Voice

@table @samp  
  @item @code{abbrev}@indexcode{abbrev}  
    Set length for tremolo to be used if no length is explicitly
    specified. 

  @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding}
     
    Determines the extra space added between articulation marks, such
    as staccato, tenuto, trill, up/down bow or fermata, and the
    closest staff line or note.

  @item @code{articulationScriptVerticalDirection}
    @indexcode{articulationScriptVerticalDirection}  
    Determines the location of articulation marks.  Set to @code{\up}
    to print marks above the staff; set to @code{\down} to print marks
    below the staff.  This property does not override explicit
    directions marked with `@code{^}' or `@code{_}' in the mudela file.
    
  @item @code{noAutoBeaming}@indexcode{beamAuto}  
    If set to 1 then beams are not generated automatically.

  @item @code{beamAutoEnd}@indexcode{beamAutoEnd}  
    Specifies when automatically generated beams can end.  See
    section XREF-autobeam [FIXME].

  @item @code{beamAutoBegin}@indexcode{beamAutoBegin}  
    Specifies when automatically generated beams can start.  See
    section XREF-autobeam [FIXME].

  @item @code{beamquantisation}@indexcode{beamquantisation}  
    Set to @code{\none} for no quantization.  Set to @code{\normal} to
    quantize position and slope.  Set to @code{\traditional} to avoid
    wedges.  These three settings are available via
    @code{\beamposfree}@keyindex{beamposfree},
    @code{\beamposnormal}@keyindex{beamposnormal}, and
    @code{\beampostraditional}@keyindex{beampostraditional}.

  @item @code{beamslopedamping}@indexcode{beamslopedamping}  
    Set to @code{\none} for undamped beams.  Set to @code{\normal} for
    damped beams.  Set to @code{\infinity} for beams with zero slope. 
    The identifiers
    @code{\beamslopeproportional}@keyindex{beamslopeproportional},
    @code{\beamslopedamped}@keyindex{beamslopedamped}, and
    @code{\beamslopezero}@keyindex{beamslopezero} each set the
    corresponding value.

  @item @code{dynamicDirection}@indexcode{dynamicDirection}  
    Determines location of dynamic marks.  Set to @code{\up} to print
    marks above the staff; set to @code{\down} to print marks below
    the staff.

  @item @code{dynamicStyle}@indexcode{dynamicStyle}  
    Set the text style for dynamics.  

  @item @code{fontSize}@indexcode{fontSize}  
    Can be used to select smaller font sizes for music.  The normal
    font size is 0, and the two smaller sizes are -1
    and -2.

   @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift}  
    Force horizontal shift for collision resolution.  It overrides
    automatic collision resolution.  The value is the shift amount
    expressed in @code{note_width}, as set in the paper section.

[FIXME: this should be moved]

Lilypond always arranges note heads on alternate sides of a stem (that
is, within a single voice) as necessary to prevent collisions (note head
overlaps).  For up stems, the upper note of a colliding pair is placed
on the right side of the stem, the lower on the left. For down stems,
the algorithm works in reverse.
  
Lily also attempts to prevent collisions of note heads in different
voices. A situation where chords of two or more voices are played
simultaneously within one staff.

By default, if only two voices (and both have opposite stem directions)
are in this 'collision group', the notes both are shifted by @code{0.5
\quartwidth} if there are unisons or seconds between the voices.

If there are more than two voices in a collision group, shifting is
inactive by default, since in this case, there are multiple chords with
the same stem direction. By  distinguish between those chords, LilyPond
can do collision resolution in these cases as well.  

Distinguishing between voices with the same stem direction, is done by
setting the property @code{Voice.horizontalNoteShift}.  It must be set
to a different integer for each voice. Then, all note heads in collision
groups (not just unisons and seconds) will be offset, one voice relative
another.  The following fragment of sheet music shows how shifting is
done, with values of @code{horizontalNoteShift} printed over and under
the notes. In this case the chords are just simple notes.

@c URG : mudela book bug.
@mudela[singleline]
\score {
        \notes \context Staff <
                \context Voice  = VA { \stemup f''4^"0" }
                \context Voice  = VB {\stemup
                \property Voice.horizontalNoteShift = 1 d''4^" 1" }
                \context Voice  = VC { \stemup \property
Voice.horizontalNoteShift = 2 b'4^"  2" }
                \context Voice  = VD { \stemdown \property
Voice.horizontalNoteShift = 1 g'4_"1 " }
                \context Voice  = VE { \stemdown e'4_"0" }
        >
}
@end mudela

If you are not satisfied with the collision resolution of LilyPond, you
can override the horizontal shift value of the chord of one Voice, by
setting @code{forceHorizontalShift}.  This sets the amount shift,
measured in black note head widths.

To take complete control of note position shifts in complex passages,
you have set things up for normal collisions and override all shifts by
setting @code{forceHorizontalShift} to zero everywhere
@example
\property Voice.horizontalNoteShift = <n>
\property Voice.forceHorizontalShift = "0.0"
@end example

Then you can set the force property to a suitable value before each note
that really needs it (unisons and seconds), and reset it to 0.0 after
the note.  

  @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift}  
    Enable LilyPond to shift notes horizontally if they collide with
    other notes.  This is useful when typesetting many voices on one
    staff.  The identifier @code{\shift}@keyindex{shift} is defined to
    enable this.  Traditionally, the outer chords (the upmost and
    downmost voices), should have no @code{horizontalNoteShift}.

  @item @code{markScriptPadding}@indexcode{markScriptPadding}  
    Determines the extra space added between the mark and the closest
    staff line or note.

  @item @code{markDirection}@indexcode{markDirection}  
    Determines if marks should be printed above or below the staff.
    Set to @code{\up} to print marks above the staff; set to
    @code{\down} to print marks below the staff.

  @item @code{midiInstrument}@indexcode{midiInstrument}  
    Sets the instrument for MIDI output.  If this property is not set
    then LilyPond will use the @code{instrument} property.  This must
    be set to one of the strings on the list of MIDI instruments that
    appears in section XREF-midilist [FIXME].  If you use a string which
    is not listed, LilyPond will silently substitute piano.

  @item @code{oldTieBehavior}@indexcode{oldTieBehavior}  
    Set to 1 in order to get old tie behavior where ties would
    connect unequal pitches.  This property is deprecated, and its
    use is not recommended.

  @item @code{restStyle}@indexcode{restStyle}  
    Change the layout of rests shorter than quarter notes. 
    Currently, the standard layout @code{""} and mensural notation
    @code{"mensural"} are available. Mensural rests of duration
    32 or shorter are not available.
    
  @item @code{scriptHorizontal}@indexcode{scriptHorizontal}  
    Put scripts left or right of note heads.  Support for this is
    limited.  Accidentals will collide with scripts.
    
  @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection}  
    Set to @code{\free} for free choice of slur direction, set to
    @code{\up} to force slurs up, set to @code{\down} to force slurs
    down.  The shorthands @code{\slurup}@keyindex{slurup},
    @code{\slurdown}@keyindex{slurdown}, and
    @code{\slurboth}@keyindex{slurboth} are available.

  @item @code{slurDash}@indexcode{slurDash}  
    Set to 0 for normal slurs, 1 for dotted slurs, and a
    larger value for dashed slurs.  Identifiers
    @code{\slurnormal}@keyindex{slurnormal} and
    @code{\slurdotted}@keyindex{slurdotted} are predefined to set the
    first two settings.

@item @code{stemLength}@indexcode{stemLength}  
    Set length of stems.  Unit is `@code{interline}/2', so
    @code{stemLength} defaults to 7.

  @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount}  
    Specify the number of beams to draw on the left side of the next
    note.  Overrides automatic beaming.  The value is only used once,
    and then it is erased.

  @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount}  
    Specify the number of beams to draw on the right side of the next
    note.  Overrides automatic beaming.  The value is only used once,
    and then it is erased.
  @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection}  
    Set to @code{\free} for free choice of tie direction, set to
    @code{\up} to force ties up, set to @code{\down} to force ties
    down.

  @item @code{transposing}@indexcode{transposing}  
    Transpose the MIDI output.  Set this property to the number of
    half-steps to transpose by.

  
  @item @code{textEmptyDimension}@indexcode{textEmptyDimension}  
    If set to 1 then text placed above or below the staff is
    assumed to have zero width.
  
  @item @code{textStyle}@indexcode{textStyle}  
    Set the text style for superscripts and subscripts.  See above
    for list of text styles.

  @item @code{textScriptPadding}@indexcode{textScriptPadding}  
    Determines the extra space added between superscripted resp.
    subscripted text and the closest staff line or note.

  @item @code{verticalDirection}@indexcode{verticalDirection}  
    Determines the direction of stems, subscripts, beams, slurs, and
    ties.  Set to @code{\down} to force them down, @code{\up} to force
    them up, or @code{\free} to let LilyPond decide.  This can be used
    to distinguish between voices on the same staff.  The
    @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup},
    and @code{\stemboth}@keyindex{stemboth} identifiers set this
    property.
    

  @item @code{tupletDirection}@indexcode{tupletDirection}  
    Determines the direction of triplets and other tuplets.  Set to
    @code{\down} to force them below the staff, @code{\up} to force
    them above, or @code{\free} to let LilyPond decide.

  @item @code{tupletVisibility}@indexcode{tupletVisibility}  
    Determines whether tuplets of notes are labelled.  Setting
    to 0 shows nothing; setting to 1 shows a number;
    setting to 2 shows a number and a bracket if there is no
    beam; setting to 3 shows a number, and if there is no beam
    it adds a bracket; setting to 4 shows both a number and a
    bracket unconditionally.

@end table

@subsubheading Staff properties

@cindex properties!Staff

@table @samp
 
  @item @code{barNonAuto}@indexcode{barNonAuto}  
    If set to 1 then bar lines will not be printed
    automatically; they must be explicitly created with @code{\bar}
    keywords.  Unlike with the @code{\cadenza} keyword, measures are
    still counted.  Bar generation will resume according to that
    count if this property is set to zero.

  @item @code{barNumberDirection}@indexcode{barNumberDirection}  
    Set to @code{\up} or @code{\down} to put bar numbers above or below
    the staff.

  @item @code{barNumberHangOnClef}@indexcode{barNumberHangOnClef}  
    Set to 1 to cause bar numbers to appear above or below the
    clef instead of on the bar line.  This property is deprecated. 
    Do not use.

  @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding}  
    Sets extra space between the bar number and the bar it labels.

  @item @code{barSize}@indexcode{barSize}  
    Specify the height of the bar lines if it should be different
    than the staff height.

  @item @code{barAtLineStart}@indexcode{barAtLineStart}  
    Set to 1 to produce a bar line after the clef at the start
    of each line (but not at the beginning of the music).

  @item @code{clefStyle}@indexcode{clefStyle}  
    Determines how clefs are typeset.  If set to @code{transparent},
    the clefs are not printed at all, if set to
    @code{fullSizeChanges}, clef changes in the middle of a line are
    typeset with a full size clef.  By default, clef changes are
    typeset in smaller size.

  @item @code{createKeyOnClefChange}@indexcode{createKeyOnClefChange}  
    Set to a nonempty string if you want key signatures to be printed
    when the clef changes.  Set to the empty string if you do not
    want key signatures printed.

  @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef}  
    Specify whether clefs are created on default?  (Doesn't seem to
    do anything.)

  @item @code{defaultClef}@indexcode{defaultClef}  
    Determines the default clef.  See @code{\clef} keyword.

  @item @code{markHangOnClef}@indexcode{markHangOnClef}  
    Set to 1 to cause marks to appear by clefs instead of by bar
    lines.  Deprecated, use is not recommended.

  @item @code{marginDirection}@indexcode{marginDirection}  
    Set to @code{\left} or @code{\right} to specify location of
    marginal scripts.

  @item @code{marginScriptPadding}@indexcode{marginScriptPadding}  
    Specify extra space for marginal scripts.

  @item @code{forgetAccidentals}@indexcode{forgetAccidentals}  
    Causes accidentals to be printed at every note instead of
    remembered for the duration of a measure.

  @item @code{noResetKey}@indexcode{noResetKey}  
    Do not reset the key at the start of a measure.  Accidentals will
    be printed only once and are in effect until overridden, possibly
    many measures later.

  @item @code{staffLineLeading}@indexcode{staffLineLeading}  
    Specifies the distance (in points) between lines of the staff.

  @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines}  
    Specifies the number of staff lines.  The default is 5.

  @item @code{postBreakPadding}@indexcode{postBreakPadding}  
    Extra space in points to be added after the clef, time signature
    and key signature on the staff.  Deprecated, do not use.

  @item @code{noVoltaBraces}@indexcode{noVoltaBraces}  
    Set to true to suppress the printing of brackets over alternate
    endings specified by the command @code{\alternative}.

  @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines}  
    Sets the number of lines that the staff has.
 
  @item @code{barAlways}@indexcode{barAlways}  
    If set to 1 a bar line is drawn after each note.

  @item @code{defaultBarType}@indexcode{defaultBarType}  
    Sets the default type of bar line. See Section XREF-barlines [FIXME] 
    for a list of available bar types.

  @item @code{instrument}, @code{instr}
    @indexcode{instrument}@indexcode{instr}  
    If @code{Staff_margin_engraver}
@cindex Staff_margin_engraver
 is
    added to the Staff translator, then the @code{instrument} property
    is used to label the first line of the staff and the @code{instr}
    property is used to label subsequent lines.  If the
    @code{midiInstrument} property is not set, then @code{instrument}
    is used to determine the instrument for MIDI output.

  @item @code{keyOctaviation}@indexcode{keyOctaviation}  
    If set to 1, then keys are the same in all octaves.  If set
    to 0 then the key signature for different octaves can be
    different and is specified independently:

    @example
      \keysignature bes fis'
    @end example

    The default value is 1.  Can be set to zero with
    @code{\specialkey} or reset to 1 with @code{\normalkey}.

  @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle}  
    Changes the default two-digit layout for time signatures.  The
    following values are recognized:

    @table @samp
      @item @code{C}@indexcode{C}  
        4/4 and 2/2 are typeset as C and struck C, respectively.  All
        other time signatures are written with two digits.

      @item @code{old}@indexcode{old}  
        2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are
        typeset with old-style mensuration marks.  All other time
        signatures are written with two digits.

      @item @code{1}@indexcode{1}  
        All time signatures are typeset with a single
        digit, e.g. 3/2 is written as 3.

      @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N}, 
      @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or
      @code{old6/8alt}@indexcode{old6/8alt}  
        Tells LilyPond to use a specific symbol as time signature.
    @end table

    The different time signature characters are shown below with its
    names:

    @mudela[center]

      \score {
        \notes\relative c'' {
          \property Voice.textStyle = typewriter
          \property Staff.timeSignatureStyle = "C2/2"
          \time 2/2; a2^"C2/2" a2 
          \property Staff.timeSignatureStyle = "C4/4"
          \time 2/2; a2^"C4/4" a2 
          \property Staff.timeSignatureStyle = "old2/2"
          \time 2/2; a2^"old2/2" a2 
          \property Staff.timeSignatureStyle = "old3/2"
          \time 2/2; a2^"old3/2" a2 
          \property Staff.timeSignatureStyle = "old2/4"
          \time 2/2; a2^"old2/4" a2 
          \property Staff.timeSignatureStyle = "old4/4"
          \time 2/2; a2^"old4/4" a2 
          \property Staff.timeSignatureStyle = "old6/4"
          \time 2/2; a2^"old6/4" a2 
          \property Staff.timeSignatureStyle = "old9/4"
          \time 2/2; a2^"old9/4" a2 
          \property Staff.timeSignatureStyle = "old4/8"
          \time 2/2; a2^"old4/8" a2 
          \property Staff.timeSignatureStyle = "old6/8"
          \time 2/2; a2^"old6/8" a2 
          \property Staff.timeSignatureStyle = "old6/8alt"
          \time 2/2; a2^"old6/8alt" a2 
          \property Staff.timeSignatureStyle = "old9/8"
          \time 2/2; a2^"old9/8" a2 
        }
        \paper {
          linewidth = 4.5 \in;
        }
      }
    
@end mudela

  @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration}  
    Set to an integer to control the size of the brackets printed by
    @code{\alternative}.  The integer specifies the number of whole
    notes duration to use for the brackets.  It is rounded to the
    nearest measure.  This can be used to shrink the length of
    brackets in the situation where one alternative is very large. 
    It may have odd effects if the specified duration is longer than
    the music given in an @code{\alternative}.
@end table
   

@cindex properties!GrandStaff

@table @samp 
  @item @code{alignmentReference}@indexcode{alignmentReference}  
    Set to @code{\center} for vertical alignment reference point to be
    in the center of the vertical group.  Set to @code{\up} to put the
    reference point at the top of the group.

  @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign}  
    Set the maximum vertical distance between staffs.

  @item @code{minVerticalAlign}@indexcode{minVerticalAlign}  
    Set the minimum vertical distance between staffs.  
@end table


@cindex properties!Score

@table @samp
  @item @code{skipBars}@indexcode{skipBars}  
    Set to 1 to skip the empty bars that are produced by
    multimeasure notes and rests.  These bars will not appear on the
    printed output.  Set to zero (the default) to expand multimeasure
    notes and rests into their full length, printing the appropriate
    number of empty bars so that synchronization with other voices is
    preserved.

    @quotation

@mudela[fragment,verbatim,center]
r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3

@end mudela
    @end quotation

@end table


@cindex properties!ChordNamesVoice

@table @samp
  @item @code{chordInversion}@indexcode{chordInversion}  
    Determines whether LilyPond should look for chord inversions when
    translating from notes to chord names.  Set to 1 to find
    inversions.  The default is 0 which does not look for
    inversions.
@end table



@node Notation output definitions, , ,  Reference Manual
@section Notation output definitions

@cindex output

@cindex notation output

@cindex output definition

@node paper, , ,  Reference Manual

The most important output definition is the @code{\paper} block, for
music notation.  The syntax is

@example

  @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
@end example

where each of the items is one of

@itemize @bullet
  @item  An assignment.  The assignment must be terminated by a
       semicolon.  See section XREF-papervars [FIXME] for information on
       paper variables.

  @item  A context definition.  See section XREF-contextdefs [FIXME] for
       more information on context definitions.

  @item  A margin shape declaration.  The syntax is

       @example

         \shape @var{indent1}@code{,} @var{width1}@code{,}
                      @var{indent2}@code{,} @var{width2} @dots{} @code{;}
       @end example

       @keyindex{shape}

       Each pair of @var{indent} and @var{width} values is a dimension
       specifying how far to indent and how wide to make the line. 
       The indentation and width of successive lines are specified by
       the successive pairs of dimensions.  The last pair of
       dimensions will define the characeristics of all lines beyond
       those explicitly specified.

  @item  A font declaration.  Its syntax is

       @example

         @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
       @end example

       @var{fontsize} is an integer describing the font to be used. 
       0 is the default font.  @var{fontname} is the basename of
       a font (usually a member of the Feta family).
@end itemize



@cindex changing font size and paper size

The Feta font provides musical symbols at six different sizes.  These
fonts are 11 point, 13 point, 16 point, 20 point,
23 point, and 26 point.  The point size of a font is the
height of the five lines in a staff when displayed in the font.

Definitions for these sizes are the files @file{paperSZ.ly}, where
@code{SZ} is one of 11, 13, 16, 20, 23 and 26.  If you include
any of these files, the identifiers @code{paper_eleven},
@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
@code{paper_twentythree}, and @code{paper_twentysix} are defined
respectively.  The default @code{\paper} block is also set.

To change the paper size, you must first set the
@code{papersize}@indexcode{papersize} variable at top level.  Set it to the strings
@code{a4}, @code{letter}, or @code{legal}.  After this specification,
you must set the font as described above.  If you want the default
font, then use the 20 point font.  The new paper size will not
take effect if the font is not loaded and selected afterwards.  Paper
size selection works by loading a file named after the paper size you
select.



@cindex paper variables

@node papervars, , ,  Reference Manual

There is a large number of paper variables that are used to control
details of the layout.  These variables control the defaults for the
entire score.  Usually, they do not have to be changed; they are by
default set to values that depend on the font size in use.  The
values are used by the graphic objects while formatting the score;
they are therefore implementation dependent.  Most variables are
accompanied by documentation in the initalization file
@file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
height in points.

Nevertheless, here are some variables you may want to use or change:

@table @samp
  @item @code{indent}@indexcode{indent}  
    The indentation of the first line of music.

  @item @code{interline}@indexcode{interline}  
    The distance between two staff lines, calculated from the center
    of the lines.  You should use either this or @code{rulethickness}
    as a unit for distances you modify.
  
  @item @code{linewidth}@indexcode{linewidth}  
    Sets the width of the lines.  If set to -1.0, a single
    unjustified line is produced.

  @item @code{output}@indexcode{output}  
    Specifies an alternate name for the the output @file{s}.
    A @file{.tex}, @file{.midi} or @file{.ps} extension will be 
    added to the string you specify.

  @item @code{rulethickness}@indexcode{rulethickness}  
    Determines the thickness of staff and bar lines. 

  @item @code{castingalgorithm}@indexcode{castingalgorithm}  
    The algorithm to use for breaking lines.  Choices are
    @code{\Gourlay}@keyindex{Gourlay} for a TeX-like dynamic
    programming algorithm, and @code{\Wordwrap}@keyindex{Wordwrap} for
    a simple algorithm.  Gourlay breaking looks much better, but
    takes a lot more resources.  Wordwrap leaves loosely spaced lines
    at the end.
@end table


@node contextdefs, , ,  Reference Manual

@cindex context definition

A notation contexts is defined by the following information

@enumerate i
  @item  A name.

  @item  The LilyPond modules that do the actual conversion of music to
       notation.  Each module is a so-called
       @emph{engraver}
@cindex engraver
.

  @item  How these modules should cooperate, i.e. which ``cooperation
       module'' should be used.  This cooperation module is a special
       type of engraver.

  @item  What other contexts the context can contain,

  @item  What properties are defined.
@end enumerate

A context definition has this syntax:

@example

  \translator @code{@{}
                      @var{translatorinit} @var{translatormodifierlist}
                    @code{@}}
@end example

@var{translatorinit} can be an identifier or of the form

@example

  \type @var{typename} @code{;}
@end example

@var{typename} is one of

@table @samp
  @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}  
    The standard cooperation engraver.

  @item @code{Score_engraver}@indexcode{Score_engraver}  
    This is cooperation module that should be in the top level context.

  @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}  
    This is a special cooperation module (resembling
    @code{Score_engraver}) that is used to created an embedded
    `miniscore'.
@end table 

@var{translatormodifierlist} is a list of items where each item is
one of

@itemize @bullet
  @item  @code{\consists} @var{engravername} @code{;}  
    Add @var{engravername} to the list of modules in this context. 
    Section XREF-engravers [FIXME] contains an overview of the engravers
    available.  The order of engravers added with @code{\consists} is
    significant.
  
  @item  @code{\consistsend} @var{engravername} @code{;}  
    Analogous to @code{\consists}, but makes sure that
    @var{engravername} is always added to the end of the list of
    engravers.

    Some engraver types need to be at the end of the list; this
    insures they are put there, and stay there, if a user adds or
    removes engravers.  This command is usually not needed for
    end-users.
    
  @item  @code{\accepts} @var{contextname} @code{;}  
    Add @var{contextname} to the list of  context this context can
    contain.  The first listed context the context to create by
    default.
  
  @item  @code{\remove} @var{engravername} @code{;}  
    Remove a previously added (with @code{\consists}) engraver.
  
  @item  @code{\name} @var{contextname} @code{;}  
    This sets name of the context, e.g. @code{Staff}, @code{Voice}.  If
    the name is not specified, the translator won't do anything.

  @item  @var{propname} @code{=} @var{value} @code{;}  
    A property assignment.  It is allowed to use reals for
    @var{value}.
@end itemize

In the @code{\paper} block, it is also possible to define translator
identifiers.  Like other block identifiers, the identifier can only
be used as the very first item of a translator.  In order to define
such an identifier outside of @code{\score}, you must do

@quotation

@example 
\paper @{
  foo = \translator @{ @dots{} @}
@}
\score @{
  \notes @{
    @dots{}
  @}
  \paper @{
    \translator @{ \foo @dots{} @}
  @}
@} 
@end example 

@end quotation


@cindex paper types, engravers, and pre-defined translators

Some pre-defined identifiers can simplify modification of
translators.  The pre-defined identifiers are:

@table @samp
  @item @code{StaffContext}@indexcode{StaffContext}  
    Default Staff context. 

  @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}  
    Default RhythmicStaff context. 

  @item @code{VoiceContext}@indexcode{VoiceContext}  
    Default Voice context.  

  @item @code{ScoreContext}@indexcode{ScoreContext}  
    Default Score context. 

  @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}  
    Score context with numbering at the Score level.

  @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}  
    Staff context with numbering at the Staff level.

  @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}  
    Staff context that does not print if it only contains rests. 
    Useful for orchestral scores.@footnote{Harakiri, also called
    Seppuku, is the ritual suicide of the Samourai.}

  @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}

  @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
@end table

Using these pre-defined values, you can remove or add items to the
translator:

@quotation

@example 
\paper @{
  \translator @{
    \StaffContext
    \remove Some_engraver;
    \consists Different_engraver;
  @}
@} 
@end example 

@end quotation

      

@node engravers, , ,  Reference Manual

The engravers for paper output are:

[incomplete, FIXME]

@table @samp
  @item @code{Bar_engraver}@indexcode{Bar_engraver}  
    Engraves bar lines.  Normally in @code{Staff} and
    @code{RhythmicStaff}.

  @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}  
    Engrave bar numbers.  These numbers appear at the start of each
    line.  Not normally in any translator.  Can be added to
    @code{Score} for score-wide numbering or to @code{Staff} for
    numbering on each staff.

  @item @code{Beam_engraver}@indexcode{Beam_engraver}  
    Handles beam requests by engraving beams.  Normally appears in
    the @code{Voice} translator.  If omitted, then notes will be
    printed with flags instead of beams.

  @item @code{Beam_req_swallow_translator}
    @indexcode{Beam_req_swallow_translator}  
    Swallows beam requests.  In @code{LyricVoice}.  

  @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}  
    Engraves chord names.  Normally in @code{ChordNameVoice} .

  @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}

  @item @code{Clef_engraver}@indexcode{Clef_engraver}  
    Engraves the clef symbol.  Normally in @code{Staff}.

  @item @code{Collision_engraver}@indexcode{Collision_engraver}

  @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}  
    Engraves dots on dotted notes shifted to the right of the note. 
    Normally in @code{Voice}.  If omitted, then dots appear on top of
    the notes.

  @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}  
    Engraves dynamics symbols.  Normally in @code{Voice}.

  @item @code{Font_size_engraver}@indexcode{Font_size_engraver}

  @item @code{Key_engraver}@indexcode{Key_engraver}  
    Engraves the key signature.  Normally in @code{Staff}.

  @item @code{Local_key_engraver}@indexcode{Local_key_engraver}

  @item @code{Lyric_engraver}@indexcode{Lyric_engraver}  
    Engraves lyrics.  Normally in @code{LyricVoice}.

  @item @code{Multi_measure_rest_engraver}
    @indexcode{Multi_measure_rest_engraver}  
    Engraves multi-measure rests that are produced with @code{R}. 
    Normally in @code{Voice}.

  @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}

  @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}  
    Treat all pitches as middle C.  Used in @code{RhythmicStaff}. 
    Note that the notes move, but the locations of accidentals stay
    the same.

  @item @code{Priority_horizontal_align_engraver}
    @indexcode{Priority_horizontal_align_engraver}

  @item @code{Repeat_engraver}@indexcode{Repeat_engraver}  
    Handles repeats?  In @code{Staff} and @code{RhythmicStaff}.

  @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}  
    Handles collisions of rests.  In @code{Staff}.

  @item @code{Rest_engraver}@indexcode{Rest_engraver}  
    Engraves rests.  Normally in @code{Voice}.

  @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}

  @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}

  @item @code{Script_engraver}@indexcode{Script_engraver}  
    Handles note ornaments generated by @code{\script}.  Normally in
    @code{Voice}.

  @item @code{Separating_line_group_engraver}
    @indexcode{Separating_line_group_engraver}

  @item @code{Skip_req_swallow_translator}
    @indexcode{Skip_req_swallow_translator}

  @item @code{Slur_engraver}@indexcode{Slur_engraver}  
    Engraves slurs.  Normally in @code{Voice}.

  @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}  
    Engraves lines across multiple staffs.  Normally in
    @code{Staffgroup} and @code{GrandStaff}.  Removing this from
    @code{StaffGroup} gives the definition of @code{ChoirStaff}.

  @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}

  @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}

  @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}  
    Prints the name of the instrument (specified by
    @code{Staff.instrument} and @code{Staff.instr}) at the left of the
    staff.

  @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}

  @item @code{Stem_engraver}@indexcode{Stem_engraver}  
    Engraves stems.  Normally in @code{Voice}.

  @item @code{Ties_engraver}@indexcode{Ties_engraver}  
    Engraves ties.  Normally in @code{Voice}.

  @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}  
    Engraves the time signature.  Normally in @code{Staff} and
    @code{RhythmicStaff}.

  @item @code{Timing_engraver}@indexcode{Timing_engraver}  
    Responsible for synchronizing timing information from staffs. 
    Normally in @code{Score}.  In order to create polyrhythmic music,
    this engraver should be removed from @code{Score} and placed in
    @code{Staff}.

  @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}  
    Engraves tuplet brackets?  In @code{Staff}.

  @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver} 
@end table



@node Sound output, , ,  Reference Manual
@section Sound output



The MIDI block is analogous to the paper block, but it is simpler.
The @code{\midi} block can contain:
@cindex MIDI block

@itemize @bullet
  @item  a @code{\tempo} definition
  @item  context definitions
@end itemize

Assignments in the @code{\midi} block are not allowed.



@cindex context definition

Context definitions follow precisely the same syntax as within the
\paper block.  Translation modules for sound are called performers.
The contexts for MIDI output are defined in @file{ly/performer.ly}.



@cindex MIDI instrument names

@node midilist, , , Reference Manual

The MIDI instrument name is set by the
@code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
if that property is not set, the
@code{Staff.instrument}@indexcode{Staff.instrument} property.  The
instrument name should be chosen from the following list.  If the
selected string does not exactly match, then LilyPond uses the default
piano.


@quotation

@example 
"acoustic grand"            "contrabass"           "lead 7 (fifths)"
"bright acoustic"           "tremolo strings"      "lead 8 (bass+lead)"
"electric grand"            "pizzicato strings"    "pad 1 (new age)"
"honky-tonk"                "orchestral strings"   "pad 2 (warm)"
"electric piano 1"          "timpani"              "pad 3 (polysynth)"
"electric piano 2"          "string ensemble 1"    "pad 4 (choir)"
"harpsichord"               "string ensemble 2"    "pad 5 (bowed)"
"clav"                      "synthstrings 1"       "pad 6 (metallic)"
"celesta"                   "synthstrings 2"       "pad 7 (halo)"
"glockenspiel"              "choir aahs"           "pad 8 (sweep)"
"music box"                 "voice oohs"           "fx 1 (rain)"
"vibraphone"                "synth voice"          "fx 2 (soundtrack)"
"marimba"                   "orchestra hit"        "fx 3 (crystal)"
"xylophone"                 "trumpet"              "fx 4 (atmosphere)"
"tubular bells"             "trombone"             "fx 5 (brightness)"
"dulcimer"                  "tuba"                 "fx 6 (goblins)"
"drawbar organ"             "muted trumpet"        "fx 7 (echoes)"
"percussive organ"          "french horn"          "fx 8 (sci-fi)"
"rock organ"                "brass section"        "sitar"
"church organ"              "synthbrass 1"         "banjo"
"reed organ"                "synthbrass 2"         "shamisen"
"accordion"                 "soprano sax"          "koto"
"harmonica"                 "alto sax"             "kalimba"
"concertina"                "tenor sax"            "bagpipe"
"acoustic guitar (nylon)"   "baritone sax"         "fiddle"
"acoustic guitar (steel)"   "oboe"                 "shanai"
"electric guitar (jazz)"    "english horn"         "tinkle bell"
"electric guitar (clean)"   "bassoon"              "agogo"
"electric guitar (muted)"   "clarinet"             "steel drums"
"overdriven guitar"         "piccolo"              "woodblock"
"distorted guitar"          "flute"                "taiko drum"
"guitar harmonics"          "recorder"             "melodic tom"
"acoustic bass"             "pan flute"            "synth drum"
"electric bass (finger)"    "blown bottle"         "reverse cymbal"
"electric bass (pick)"      "skakuhachi"           "guitar fret noise"
"fretless bass"             "whistle"              "breath noise"
"slap bass 1"               "ocarina"              "seashore"
"slap bass 2"               "lead 1 (square)"      "bird tweet"
"synth bass 1"              "lead 2 (sawtooth)"    "telephone ring"
"synth bass 2"              "lead 3 (calliope)"    "helicopter"
"violin"                    "lead 4 (chiff)"       "applause"
"viola"                     "lead 5 (charang)"     "gunshot"
"cello"                     "lead 6 (voice)" 
@end example 

@end quotation


@cindex MIDI types and performers

The types available for  MIDI translators are:

@table @samp
  @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
  @item @code{Score_performer}@indexcode{Score_performer}
  @item @code{Staff_performer}@indexcode{Staff_performer}
@end table

The performers for MIDI translators are:

@table @samp
  @item @code{Key_performer}@indexcode{Key_performer}
  @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
  @item @code{Note_performer}@indexcode{Note_performer}
  @item @code{Lyric_performer}@indexcode{Lyric_performer}
  @item @code{Swallow_performer}@indexcode{Swallow_performer}
@end table



@node Pre-defined Identifiers, , ,  Reference Manual

@section Pre-defined Identifiers

@cindex pre-defined identifiers


Various identifiers are defined in the initialization files to
provide shorthands for some settings.  Most of them are in
@file{ly/declarations.ly}.

@table @samp
  @item @code{\break}@keyindex{break}  
    Force a line break in music by using a large argument for the
    keyword @code{\penalty}.

  @item @code{\center}@keyindex{center}  
    Used for setting direction  properties.  Equals 0.

  @item @code{\down}@keyindex{down}  
    Used for setting direction setting properties.  Is equal
    to -1.

  @item @code{\free}@keyindex{free}  
    Used for setting direction setting properties.  Is equal
    to 0.

  @item @code{\left}@keyindex{left}  
    Used for setting text alignment property.  Is equal to -1.

  @item @code{\nobreak}@keyindex{nobreak}  
    Prevent a line break in music by using a large negative argument
    for the keyword @code{\penalty}.

  @item @code{\none}@keyindex{none}  
    Used for setting @code{Score.beamslopedamping} and
    @code{Score.beamquantisation} properties.  Is equal to 0.

  @item @code{\normal}@keyindex{normal}  
    Used for setting @code{Score.beamslopedamping} and
    @code{Score.beamquantisation} properties.  Is equal to 1.

  @item @code{\normalkey}@keyindex{normalkey}  
    Select normal key signatures where each octave has the same key
    signature.  This sets the @code{Staff.keyoctaviation} property.

  @item @code{\right}@keyindex{right}  
    Used for setting text alignment property.  Is set to 1.

  @item @code{\shiftoff}@keyindex{shiftoff}  
    Disable horizontal shifting of note heads that collide.  Sets the
    @code{Voice.horizontalNoteShift} property.

  @item @code{\shifton}@keyindex{shifton}  
    Enable note heads that collide with other note heads to be
    shifted horiztonally.  Sets the @code{Voice.horizontalNoteShift}
    property.

  @item @code{\slurboth}@keyindex{slurboth}  
    Allow slurs to be above or below notes.  This sets the
    @code{Voice.slurVerticalDirection} property.

  @item @code{\slurdown}@keyindex{slurdown}  
    Force slurs to be below notes.  This sets the
    @code{Voice.slurVerticalDirection} property.

  @item @code{\slurup}@keyindex{slurup}  
    Force slurs to be above notes.  This sets the
    @code{Voice.slurVerticalDirection} property.

  @item @code{\specialkey}@keyindex{specialkey}  
    Allow key signatures do differ in different octaves.  This sets
    the @code{Staff.keyoctaviation} property.

  @item @code{\stemboth}@keyindex{stemboth}  
    Allow stems, beams, and slurs to point either upwards or
    downwards, decided automatically by LilyPond.  This sets the
    @code{Voice.verticalDirection} property.

  @item @code{\stemdown}@keyindex{stemdown}  
    Force stems, beams, and slurs to point down.  This sets the
    @code{Voice.verticalDirection} property.

  @item @code{\stemup}@keyindex{stemup}  
    Force stems, beams and slurs to point up.  This sets the
    @code{Voice.verticalDirection} property.

  @item @code{\traditional}@keyindex{traditional}  
    Used for setting the @code{Score.beamquantisation} property.  Is
    equal to 2.

  @item @code{\up}@keyindex{up}  
    Used for setting various direction properties.  Is equal
    to 1.
@end table



@node Running LilyPond, , , Reference Manual
@section Running LilyPond

@cindex running LilyPond


When invoked with a filename that has no extension, LilyPond will try
adding `@file{.ly}' as an extension first, then `@file{.fly}' and
finally `@file{.sly}' extension.  If the filename ends with
`@file{.fly}', LilyPond processes the file as music using
`@file{init.fly}'.  In this case, LilyPond does something like:

@quotation

@example 
\score @{
  \notes\relative c @{
    \input "yourfile.fly"
  @}
  \paper@{@}
  \midi@{@}
@} 
@end example 

@end quotation

The result of `@file{.sly}' is similar except that a single unjustified
line is produced.

If you invoke LilyPond with a file `@file{foo.}@var{ext}' that doesn't
have the `@file{.ly}' extension, then LilyPond will look for a file
called `@file{init.}@var{ext}' and process this file.  The file
`@file{init.}@var{ext}' must contain the @code{\maininput} keyword or
LilyPond will not read the user specified file.

When LilyPond processes @file{filename.ly} it will produce
@file{filename.tex} as output.  If @file{filename.ly} contains a second
@code{\paper} keyword, then LilyPond will produce @file{filename-1.tex}
as well.  Subsequent @code{\paper} keywords will produce sequentially
numbered file names.  Several files can be specified; they will each
be processed independently.@footnote{Not entirely true: The status of
GUILE is kept.}

@node Glossary, , ,  Top
@chapter Glossary

@include glossary.texi


@bye