3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @macro internalsref{NAME}
17 @uref{../lilypond-internals/\NAME\.html,\NAME\}
20 @macro seeinternals{NAME}
21 See @internalsref{\NAME\}
27 @macro seeinternals{NAME}
29 @macro internalsref{NAME}
35 @c .{Reference Manual}
37 @node Reference Manual
38 @chapter Reference Manual
41 <!--- @@WEB-TITLE@@=Reference Manual --->
44 This document describes GNU LilyPond and its input format. The last
45 revision of this document was made for LilyPond 1.4.1. It supposes a
46 passing familiarity with how LilyPond input works. New users are
47 encouraged to study the tutorial first.
72 * Skipping corrected music::
73 * Interpretation context::
78 @c FIXME: Note entry vs Music entry at top level menu is confusing.
84 The most basic forms of music are notes. Notes on their own don't
85 form valid input, but for the sake of brevity we omit @code{\score}
86 blocks and @code{\paper} declarations.
92 * Chromatic alterations::
97 * Automatic note splitting ::
99 * Defining pitch names::
100 * Easy Notation note heads ::
108 A note is printed by specifying its pitch, and then its duration.
109 @lilypond[fragment,verbatim]
112 The grob for a note head is called @internalsref{NoteHead}.
119 @cindex Note specification
121 @cindex entering notes
123 The verbose syntax for pitch specification is
125 @cindex @code{\pitch}
127 \pitch @var{scmpitch}
130 @var{scmpitch} is a pitch scheme object.
132 In Note and Chord mode, pitches may be designated by names. The default
133 names are the Dutch note names. The notes are specified by the letters
134 @code{a} through @code{g} (where the octave is formed by notes ranging
135 from @code{c} to @code{b}). The pitch @code{c} is an octave below
136 middle C and the letters span the octave above that C.
138 @cindex note names, Dutch
140 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
141 name and a flat is formed by adding @code{-es}. Double sharps and double
142 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
143 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
144 both forms are accepted.
146 LilyPond has predefined sets of note names for various other languages.
147 To use them, simply include the language specific init file. For
148 example: @code{\include "english.ly"}. The available language files and
149 the names they define are:
152 Note Names sharp flat
153 nederlands.ly c d e f g a bes b -is -es
154 english.ly c d e f g a bf b -s/-sharp -f/-flat
155 deutsch.ly c d e f g a b h -is -es
156 norsk.ly c d e f g a b h -iss/-is -ess/-es
157 svenska.ly c d e f g a b h -iss -ess
158 italiano.ly do re mi fa sol la sib si -d -b
159 catalan.ly do re mi fa sol la sib si -d/-s -b
167 The optional octave specification takes the form of a series of
168 single quote (`@code{'}') characters or a series of comma
169 (`@code{,}') characters. Each @code{'} raises the pitch by one
170 octave; each @code{,} lowers the pitch by an octave.
172 @lilypond[fragment,verbatim,center]
173 c' c'' es' g' as' gisis' ais'
176 @node Chromatic alterations
177 @subsection Chromatic alterations
179 Normally Accidentals signify that the pitch of a note differs from the
180 key signature. Normally, they are printed automatically depending, but
181 you may force accidentals in the following ways:
182 A reminder accidental
183 @cindex reminder accidental
185 can be forced by adding an exclamation mark @code{!} after the pitch. A
186 cautionary accidental,
187 @cindex cautionary accidental
188 @cindex parenthesized accidental
189 i.e., an accidental within parentheses can be obtained by adding the
190 question mark `@code{?}' after the pitch.
192 Each accidental symbol is an @internalsref{Accidental} grob. The
193 placement of accidentals is handled by
194 @internalsref{AccidentalPlacement}.
202 A rest is entered like a note, with note name `@code{r}':
204 @lilypond[singleline,verbatim]
208 The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
209 specified using @code{R}, see @ref{Multi measure rests}.
211 For polyphonic music, it can be convenient to specify the rest position
212 directly. You can do that by entering a note, with the keyword
213 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
215 @lilypond[singleline,verbatim]
225 @cindex Invisible rest
228 An invisible rest, or skip, can be entered like a note with note name
229 @code{s}, or with @code{\skip @var{duration}}:
231 @lilypond[singleline,verbatim]
235 The @code{s} syntax is only available in Note mode and Chord mode.
236 In other situations, you should use the @code{\skip} command, and it is
237 only available in Note mode and Chord mode.
239 @c FIXME: in lyrics mode, we have " " and _
241 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
242 @lilypond[singleline,verbatim]
244 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
245 \notes\relative c'' { a2 a4 a a2 a4 a }
249 The unabbreviated `@code{\skip} @var{duration}' also works outside of
252 @lilypond[singleline,verbatim]
255 { \time 4/8 \skip 2 \time 4/4 }
256 \notes\relative c'' { a2 a1 }
261 The skip command is merely a empty musical placeholder. It does not
262 produce any output, not even transparent output.
267 @subsection Durations
271 @cindex @code{\duration}
273 The syntax for a verbose duration specification is
275 \duration @var{scmduration}
277 Here, @var{scmduration} is a Scheme object of type @code{Duration}.
280 In Note, Chord, and Lyrics mode, durations may be designated by numbers
281 and dots: durations are entered as their reciprocal values. For notes
282 longer than a whole you must use identifiers.
286 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
288 r1 r2 r4 r8 r16 r32 r64 r64
294 \notes \relative c'' {
296 a1 a2 a4 a8 a16 a32 a64 a64
298 r1 r2 r4 r8 r16 r32 r64 r64
303 \remove "Clef_engraver"
304 \remove "Staff_symbol_engraver"
305 \remove "Time_signature_engraver"
306 \consists "Pitch_squash_engraver"
313 If the duration is omitted then it is set to the previous duration
314 entered. At the start of parsing a quarter note is assumed. The
315 duration can be followed by dots (`@code{.}') to obtain dotted note
319 @lilypond[fragment,verbatim,center]
325 You can alter the length of duration by a fraction @var{N/M} by
326 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
327 will not affect the appearance of the notes or rests produced.
339 A tie connects two adjacent note heads of the same pitch. The tie in
340 effect extends the length of a note. A tie is entered with @code{~}.
342 @lilypond[fragment,verbatim,center]
343 e' ~ e' <c' e' g'> ~ <c' e' g'>
346 When ties are used with chords, all note heads whose pitches match are
347 connected. Ties are indicated using the tilde symbol `@code{~}'. If
348 you try to tie together chords which have no common pitches then no
349 ties will be created.
351 If you want less ties created for a chord, you can set
352 @code{Voice.sparseTies} to true. In this case, a single tie is used
353 for every tied chord.
354 @lilypond[fragment,verbatim,center]
355 \property Voice.sparseTies = ##t
356 <c' e' g'> ~ <c' e' g'>
359 In its meaning a tie is just a way of extending a note duration, similar
360 to the augmentation dot: the following example are two ways of notating
361 exactly the same concept.
363 @lilypond[fragment, singleline]
364 \time 3/4 c'2. c'2 ~ c'4
366 Ties should not be confused with slurs, which indicate articulation,
367 and phrasing slurs, which indicate musical phrasing.
369 The name of the tie grob is @internalsref{Tie}, and it is created in the
370 @internalsref{Voice} context.
374 At present, the tie is implemented as a separate thing, temporally
375 located in between the notes.
376 Tieing only a subset of the note heads of a chord is not supported in a
377 simple way. It can be achieved by moving the tie-engraver into the Thread
378 context and turning on and off ties per Thread.
380 @node Automatic note splitting
381 @subsection Automatic note splitting
383 There is a facility for automatically converting long notes to tied
384 notes. This is done by replacing the @code{Note_heads_engraver} by the
385 @code{Completion_heads_engraver}.
387 @lilypond[verbatim,center]
389 \notes\relative c'{ \time 2/4
390 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
394 \remove "Note_heads_engraver"
395 \consists "Completion_heads_engraver"
399 This engraver splits all running notes at the bar line, and inserts
400 ties. One of the uses of this is, is to debug complex scores: if the
401 measures are not entirely filled, then the ties exactly show how much
406 Not all durations (especially those containing tuplets) can be
407 represented exactly; the engraver will not insert tuplets.
414 @cindex @code{\times}
416 Tuplets are made out of a music expression by multiplying all duration
419 @cindex @code{\times}
421 \times @var{fraction} @var{musicexpr}
424 The duration of @var{musicexpr} will be multiplied by the fraction.
425 In print, the fraction's denominator will be printed over the notes,
426 optionally with a bracket. The most common tuplet is the triplet in
427 which 3 notes have the length of 2, so the notes are 2/3 of
428 their written length:
430 @lilypond[fragment,verbatim,center]
431 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
434 The property @code{tupletSpannerDuration} specifies how long each bracket
435 should last. With this, you can make lots of tuplets while typing
436 @code{\times} only once, thus saving typing work.
438 @lilypond[fragment, relative, singleline, verbatim]
439 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
440 \times 2/3 { c'8 c c c c c }
443 The format of the number is determined by the property
444 @code{tupletNumberFormatFunction}. The default prints only the
445 denominator, but if you set it to the Scheme function
446 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
451 The typesetting of brackets and numbers is controlled by the properties
452 @code{bracket-visibility} and @code{number-visibility}. These
453 properties can either be @code{#f}, @code{#t} or @code{'if-no-beam},
454 meaning respectively off, on, and on if there is no beam.
456 @lilypond[fragment, relative, singleline, verbatim]
457 \property Voice.TupletBracket \set #'bracket-visibility = ##t
458 \times 2/3{c'8 d e} \times 2/3{d4 e8}
459 \property Voice.TupletBracket \set #'bracket-visibility = #'if-no-beam
460 \times 2/3{c d e} \times 2/3{d4 e8}
461 \property Voice.TupletBracket \set #'bracket-visibility = ##f
462 \times 2/3{c d e} \times 2/3{d4 e8}
463 \property Voice.TupletBracket \set #'number-visibility = ##f
464 \times 2/3{c d e} \times 2/3{d4 e8}
465 \property Voice.TupletBracket \set #'number-visibility = #'if-no-beam
466 \times 2/3{c d e} \times 2/3{d4 e8}
469 @cindex @code{tupletNumberFormatFunction}
470 @cindex tuplet formatting
472 Tuplet brackets are printed as @internalsref{TupletBracket} grobs in
473 the @internalsref{Voice} context.
475 @c . {Defining pitch names}
476 @node Defining pitch names
477 @subsection Defining pitch names
479 @cindex defining pitch names
480 @cindex pitch names, defining
482 Note names and chord modifiers can be customized for nationalities. The
483 syntax is as follows.
485 @cindex @code{\pitchnames}
486 @cindex @code{\chordmodifiers}
488 \pitchnames @var{scheme-alist}
489 \chordmodifiers @var{scheme-alist}
492 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers-init.ly} for
493 specific examples on how to do this.
496 @node Easy Notation note heads
497 @subsection Easy Notation note heads
499 @cindex easy notation
502 A entirely different type of note head is the "easyplay" note head: a
503 note head that includes a note name. It is used in some publications by
504 Hal-Leonard Inc. music publishers.
506 @lilypond[singleline,verbatim]
507 \include "paper23.ly"
509 \notes { c'2 e'4 f' | g'1 }
510 \paper { \translator { \EasyNotation } }
514 Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
515 probably will want to print it with magnification to make it more
516 readable, see @ref{Output scaling}.
522 If you view the result with Xdvi, then staff lines will show through the
523 letters. Printing the postscript file obtained either by using dvips or
524 the @code{-f ps} option of lilypond produces the correct result.
529 @section Staff notation
531 @cindex Staff notation
543 @subsection Key signature
548 Setting or changing the key signature is done with the @code{\key}
551 @code{\key} @var{pitch} @var{type}
554 @cindex @code{\minor}
555 @cindex @code{\major}
556 @cindex @code{\minor}
557 @cindex @code{\ionian}
558 @cindex @code{\locrian}
559 @cindex @code{\aeolian}
560 @cindex @code{\mixolydian}
561 @cindex @code{\lydian}
562 @cindex @code{\phrygian}
563 @cindex @code{\dorian}
565 Here, @var{type} should be @code{\major} or @code{\minor} to get
566 @var{pitch}-major or @var{pitch}-minor, respectively.
567 The standard mode names @code{\ionian},
568 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
569 @code{\phrygian}, and @code{\dorian} are also defined.
571 This command sets the context property @code{Staff.keySignature}.
572 Non-standard key signatures can be specified by setting this property
575 The printed signature is a @internalsref{KeySignature} grob, typically
576 created in @internalsref{Staff} context.
578 @cindex @code{keySignature}
585 The clef can be set or changed with the @code{\clef} command:
586 @lilypond[fragment,verbatim]
587 \key f\major c''2 \clef alto g'2
590 Supported clef-names include
591 @c Moved standard clefs to the top /MB
593 @item treble, violin, G, G2
602 G clef on 1st line, so-called French violin clef
617 By adding @code{_8} or @code{^8} to the clef name, the clef is
618 transposed one octave down or up, respectively. Note that you have to
619 enclose @var{clefname} in quotes if you use underscores or digits in the
625 The grob for this symbol is @internalsref{Clef}.
628 The full syntax for this command is
632 where @var{clefname} is a string. This command is a shortcut for
634 \property Staff.clefGlyph = @var{glyph associated with clefname}
635 \property Staff.clefPosition = @var{clef Y-position for clefname}
636 \property Staff.centralCPosition = @var{position for central C}
637 \property Staff.clefOctavation = @var{extra transposition of clefname}
639 Upon any change in these properties lilypond creates a clef
640 symbol. The mapping from @var{clefname} to the property values can be
641 found in @file{scm/clef.scm}
647 @c . {Time signature}
649 @subsection Time signature
650 @cindex Time signature
654 The time signature is set or changed by the @code{\time}
656 @lilypond[fragment,verbatim]
657 \time 2/4 c'2 \time 3/4 c'2.
660 The actual symbol that's printed can be customized with the style
662 @lilypond[fragment, verbatim, singleline]
664 \property Staff.TimeSignature \override #'style = #'C
666 \property Staff.TimeSignature \override #'style = #'()
668 \property Staff.TimeSignature \override #'style = #'C
672 The grob for this symbol is @internalsref{TimeSignature}. There are
673 many more options for its layout. They are selected through the
674 @code{style} grob property. See @file{input/test/time.ly} for more
678 The full syntax for this command is
680 \time @var{n}@code{/}@var{d}
682 where @var{n} and @var{d} are integers. This command is internally
683 translated, to the following:
685 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
686 \property Score.beatLength = #(make-moment 1 @var{d})
687 \property Score.measureLength = #(make-moment @var{n} @var{d})
690 The property @code{timeSignatureFraction} determine where bar lines
691 should be inserted, and how automatic beams should be generated.
692 Changing the value of @code{timeSignatureFraction} also causes a
693 fraction to be printed.
700 @cindex partial measure
701 @cindex measure, partial
702 @cindex shorten measures
703 @cindex @code{\partial}
705 Partial measures, for example in upbeats, are entered using the
706 @code{\partial} command:
707 @lilypond[fragment,verbatim]
708 \partial 4* 5/16 c'16 c8. f16 a'2. ~ a'8. a'16 | g'1
711 The syntax for this command is
713 \partial @var{duration}
715 This is internally translated into
717 \property Score.measurePosition = -@var{length of duration}
720 The property @code{measurePosition} contains a rational number
721 indicating how much of the measure has passed at this point.
724 @node Unmetered music
725 @subsection Unmetered music
727 Bar lines and bar numbers are calculated automatically. For unmetered
728 music (e.g. cadenzas), this is not desirable. The property
729 @code{Score.timing} can be used to switch off this automatic timing
731 @lilypond[fragment,relative,singleline,verbatim]
733 \property Score.timing = ##f
735 \property Score.timing = ##t
739 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
746 @subsection Bar lines
750 @cindex measure lines
753 Bar lines are inserted automatically by, but if you need a special
754 types of barline, you can force one using the @code{\bar} command:
755 @lilypond[fragment,verbatim]
759 The following bar types are available
760 @lilypond[fragment, relative, singleline, verbatim]
772 You are encouraged to use @code{\repeat} for repetitions. See
775 In scores with many staffs, the barlines are automatically placed at
776 top level, and they are connected between different staffs of a
777 @internalsref{StaffGroup}:
778 @lilypond[fragment, verbatim]
779 < \context StaffGroup <
780 \context Staff = up { e'4 d'
783 \context Staff = down { \clef bass c4 g e g } >
784 \context Staff = pedal { \clef bass c2 c2 } >
787 The grobs that are created at @internalsref{Staff} level. The name is
788 @internalsref{BarLine}.
790 The full syntax for this command is
794 where @var{bartype} is a string. This is a shortcut for doing
796 \property Score.whichBar = @var{bartype}
800 @cindex Bar_line_engraver
802 @cindex repeatCommands
803 @cindex defaultBarType
805 Whenever @code{whichBar} is set to a string, a bar line of that type is
806 created. @code{whichBar} is usually set automatically: at the start of
807 a measure it is set to @code{defaultBarType}. The contents of
808 @code{repeatCommands} is used to override default measure bars.
810 @code{whichBar} can also be set directly, using @code{\property} or
811 @code{\bar }. These settings take precedence over the automatic
812 @code{whichBar} settings.
819 Polyphonic parts, i.e. parts with more than one voice on a staff can be
820 typeset with LilyPond.
822 The easiest way to enter such fragments, is the Scheme function
823 @code{voicify-music}. It will split chords using the separator
824 @code{\\}, to make multiple voices. You can use it for small,
825 short-lived voices (make a chord of voices) or for single chords:
827 @lilypond[verbatim,fragment]
828 \context Voice = VA \apply #voicify-music \relative c'' {
829 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
833 The function @code{voicify-music} instantiates @internalsref{Voice}
834 contexts, bearing the names @code{"1"}, @code{"2"}, etc.
836 To explicity typeset polyphonic music, instantiate a separate Voice
837 context for each part, and use @code{\voiceOne}, up to
838 @code{\voiceFour} to assign a stem directions and horizontal shift for
842 @lilypond[singleline, verbatim]
844 \context Staff < \context Voice = VA { \voiceOne cis2 b }
845 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
846 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
849 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
850 ties, slurs and stems, and set shift directions.
852 If you want more than four voices, you can also manually set
853 horizontal shifts and stem directions, as is shown in the following example:
854 @lilypond[fragment, verbatim]
855 \context Staff \notes\relative c''<
862 \context Voice=three {
863 \shiftOnn \stemUp ais
865 \context Voice=four {
866 \shiftOnnn \stemUp fis
872 Normally, note heads with a different number of dots are not merged, but
873 if you set the grob property @code{merge-differently-dotted}, they are:
874 @lilypond[verbatim,fragment,singleline]
875 \apply #voicify-music < {
877 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
879 } \\ { [g'8. f16] [g'8. f'16] }
883 Similarly, you can merge half note heads with eighth notes, by setting
884 @code{merge-differently-headed}:
885 @lilypond[fragment, relative=2,verbatim]
886 \apply #voicify-music < {
888 \property Staff.NoteCollision
889 \override #'merge-differently-headed = ##t
890 c8 c4. } \\ { c2 c2 } >
893 LilyPond also vertically shifts rests that are opposite of a stem.
895 @lilypond[singleline,fragment,verbatim]
896 \apply #voicify-music <
901 Note head collisions (horizontal shifting of note heads) are handled by
902 the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
903 handles vertical shifting of rests.
909 Resolving collisions is a very intricate subject, and LilyPond only
910 handles a few situations. When it can not cope, you are advised to use
911 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
912 rests to override typesetting decisions.
917 Beams are used to group short notes into chunks that are aligned with
918 the metrum. They are inserted automatically in most cases.
920 @lilypond[fragment,verbatim, relative=2]
921 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
924 If you're not satisfied with the automatic beaming, you can enter the
925 beams explicitly. If you have beaming patterns that differ from the
926 defaults, you can also set the patterns for automatic beamer.
928 The beam symbol is @internalsref{Beam} in @internalsref{Voice}
929 context, both for automatically created and manual beams.
932 @cindex Automatic beams
933 @subsection Manual beams
934 @cindex beams, manual
938 In some cases it may be necessary to override LilyPond's automatic
939 beaming algorithm. For example, the auto beamer will not beam over
940 rests or bar lines, If you want that, specify the begin and end point
941 manually using a @code{[} before the first beamed note and a @code{]}
944 @lilypond[fragment,relative,verbatim]
946 r4 [r8 g' a r8] r8 [g | a] r8
950 @cindex @code{stemLeftBeamCount}
952 Normally, beaming patterns within a beam are determined automatically.
953 When this mechanism fouls up, the properties
954 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
955 be used to control the beam subdivision on a stem. If you set either
956 property, it's value will be used only once, and then it is erased.
958 @lilypond[fragment,relative,verbatim]
961 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
964 @cindex @code{stemRightBeamCount}
967 TODO: FIXME, we don't want this doc here.
969 can be tweaked through
970 grob-property @code{positions}. The value is a pair.
971 specify vertical location of the left and right end point. Both are
972 measured in half staff-spaces, and the middle staff line is the value
975 @li lypond[fragment,relative,verbatim]
976 \property Voice.Beam \set #'position = #
977 \property Voice.Beam \set #'height = #0
981 Here's how you'd specify a weird looking beam that instead of being
982 horizontal, falls two staff spaces:
988 @li lypond[fragment,relative,verbatim]
989 \property Voice.Beam \set #'staff-position = #4
990 \property Voice.Beam \set #'height = #-4
997 Kneed beams are inserted automatically, when a large gap between two
998 adjacent beamed notes is detected. This behavior can be tuned through
999 the grob property @code{auto-knee-gap}.
1001 @cindex beams, kneed
1003 @cindex auto-knee-gap
1007 @c TODO -> why this ref? Document?
1008 @cindex @code{neutral-direction}
1012 Auto knee beams can not be used together with hara kiri staffs.
1016 * Setting automatic beam behavior ::
1019 @node Beam typography
1020 @subsection Beam typography
1022 One of the strong points of LilyPond is how beams are formatted. Beams
1023 are quantized, meaning that the left and right endpoints beams start
1024 exactly on staff lines. Without quantization, small wedges of white
1025 space appear between the beam and staff line, and this looks untidy.
1027 Beams are also slope-damped: melodies that go up or down should also
1028 have beams that go up or down, but the slope of the beams should be
1029 less than the slope of the notes themselves.
1031 Some beams should be horizontal. These are so-called concave beams.
1033 [TODO: some pictures.]
1036 @c . {Automatic beams}
1037 @node Setting automatic beam behavior
1038 @subsection Setting automatic beam behavior
1040 @cindex @code{autoBeamSettings}
1041 @cindex @code{(end * * * *)}
1042 @cindex @code{(begin * * * *)}
1043 @cindex automatic beams, tuning
1044 @cindex tuning automatic beaming
1046 In normal time signatures, automatic beams can start on any note but can
1047 only end in a few positions within the measure: beams can end on a beat,
1048 or at durations specified by the properties in
1049 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1050 are defined in @file{scm/auto-beam.scm}.
1052 The value of @code{autoBeamSettings} is changed using
1053 @code{\override} and unset using @code{\revert}:
1055 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1056 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1058 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1059 whether the rule applies to begin or end-points. The quantity
1060 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1061 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1062 signature (wildcards, `@code{* *}' may be entered to designate all time
1065 For example, if you want automatic beams to end on every quarter note,
1066 you can use the following:
1068 \property Voice.autoBeamSettings \override
1069 #'(end * * * *) = #(make-moment 1 4)
1071 Since the duration of a quarter note is 1/4 of a whole note, it is
1072 entered as @code{(make-moment 1 4)}.
1074 The same syntax can be used to specify beam starting points. In this
1075 example, automatic beams can only end on a dotted quarter note.
1077 \property Voice.autoBeamSettings \override
1078 #'(end * * * *) = #(make-moment 3 8)
1080 In 4/4 time signature, this means that automatic beams could end only on
1081 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1082 3/8 has passed within the measure).
1084 You can also restrict rules to specific time signatures. A rule that
1085 should only be applied in @var{N}/@var{M} time signature is formed by
1086 replacing the second asterisks by @var{N} and @var{M}. For example, a
1087 rule for 6/8 time exclusively looks like
1089 \property Voice.autoBeamSettings \override
1090 #'(begin * * 6 8) = ...
1093 If you want a rule to apply to certain types of beams, you can use the
1094 first pair of asterisks. Beams are classified according to the shortest
1095 note they contain. For a beam ending rule that only applies to beams
1096 with 32nd notes (and no shorter notes), you would use @code{(end 1
1100 @c Automatic beams can not be put on the last note in a score.
1102 If a score ends while an automatic beam has not been ended and is still
1103 accepting notes, this last beam will not be typeset at all.
1105 @cindex automatic beam generation
1107 @cindex @code{Voice.autoBeaming}
1110 For melodies that have lyrics, you may want to switch off
1111 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1117 It is not possible to specify beaming parameters for beams with mixed
1118 durations, that differ from the beaming parameters of all separate
1119 durations, i.e., you'll have to specify manual beams to get:
1120 @lilypond[fragment,singleline,relative]
1121 \property Voice.autoBeamSettings
1122 \override #'(end * * * *) = #(make-moment 3 8)
1123 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1126 It is not possible to specify beaming parameters that act differently in
1127 different parts of a measure. This means that it is not possible to use
1128 automatic beaming in irregular meters such as @code{5/8}.
1131 @node Expressive marks
1132 @section Expressive marks
1147 A slur indicates that notes are to be played bound or @emph{legato}.
1148 They are entered using parentheses:
1150 @lilypond[fragment,verbatim,center]
1151 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1155 Slurs avoid crossing stems, and are generally attached to note heads.
1156 However, in some situations with beams, slurs may be attached to stem
1157 ends. If you want to override this layout you can do this through the
1158 grob-property @code{attachment} of @internalsref{Slur} in
1159 @internalsref{Voice} context It's value is a pair of symbols, specifying
1160 the attachment type of the left and right end points.
1162 @lilypond[fragment,relative,verbatim]
1164 \property Voice.Stem \set #'length = #5.5
1166 \property Voice.Slur \set #'attachment = #'(stem . stem)
1170 If a slur would strike through a stem or beam, the slur will be moved
1171 away upward or downward. If this happens, attaching the slur to the
1172 stems might look better:
1174 @lilypond[fragment,relative,verbatim]
1177 \property Voice.Slur \set #'attachment = #'(stem . stem)
1182 Similarly, the curvature of a slur is adjusted to stay clear of note
1183 heads and stems. When that would increase the curvature too much, the
1184 slur is reverted to its default shape. The threshold for this decision
1185 is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
1186 related to the enclosed area between the slur and the notes. Usually,
1187 the default setting works well, but in some cases you may prefer a
1188 curved slur when LilyPond decides for a vertically moved one. You can
1189 indicate this preference by increasing the @code{beautiful} value:
1191 @lilypond[verbatim,singleline,relative]
1193 c16( a' f' a a f a, )c,
1194 c( a' f' a a f d, )c
1195 \property Voice.Slur \override #'beautiful = #5.0
1196 c( a' f' a a f d, )c
1201 Producing nice slurs is a difficult problem, and LilyPond currently
1202 uses a simple, empiric method to produce slurs. In some cases, the
1203 results of this method don't look too good. This is reflected by the
1204 @code{beautiful} parameter. It is an arbitrary parameter in the slur
1205 formatter. Useful values can only be determined by trial and error.
1207 @cindex Adjusting slurs
1209 @node Phrasing slurs
1210 @subsection Phrasing slurs
1212 @cindex phrasing slurs
1213 @cindex phrasing marks
1215 A phrasing slur (or phrasing mark) connects chords and is used to
1216 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1219 @lilypond[fragment,verbatim,center,relative]
1220 \time 6/4 c' \( ( d ) e f ( e ) \) d
1223 Typographically, the phrasing slur behaves almost exactly like a normal
1224 slur. The grob associated with it is @internalsref{PhrasingSlur}, in
1225 @internalsref{Voice} context.
1228 @subsection Breath marks
1230 Breath marks are entered using @code{\breathe}. The result is a
1231 @internalsref{BreathingSign} grob in @internalsref{Voice} context.
1233 @lilypond[fragment,relative]
1242 @cindex beats per minute
1243 @cindex metronome marking
1245 Metronome settings can be entered as follows:
1247 @cindex @code{\tempo}
1249 \tempo @var{duration} = @var{perminute}
1252 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1257 The tempo setting is not printed, but is only used in the MIDI
1258 output. You can trick lily into producing a metronome mark,
1259 though. Details are in @ref{Text markup}.
1264 @subsection Text spanners
1265 @cindex Text spanners
1267 Some textual indications, e.g. rallentando or accelerando, often extend
1268 over many measures. This is indicated by following the text with a
1269 dotted line. You can create such texts using text spanners. The syntax
1272 \spanrequest \start "text"
1273 \spanrequest \stop "text"
1275 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1276 in @internalsref{Voice} context). The string to be printed, as well as the
1277 style is set through grob properties.
1279 An application---or rather, a hack---is to fake octavation indications.
1280 @lilypond[fragment,relative,verbatim]
1281 \relative c' { a''' b c a
1282 \property Voice.TextSpanner \set #'type = #'dotted-line
1283 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1284 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1285 \property Staff.centralCPosition = #-13
1286 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1305 @subsection Articulations
1306 @cindex Articulations
1308 @cindex articulations
1312 A variety of symbols can appear above and below notes to indicate
1313 different characteristics of the performance. They are added to a note
1314 by adding @code{-}@var{script}
1315 @lilypond[singleline]
1317 \notes \context Voice {
1318 \property Voice.TextScript \set #'font-family = #'typewriter
1319 \property Voice.TextScript \set #'font-shape = #'upright
1325 c''4-^_"c-\\^{ }" s4
1330 The script is automatically placed, but if you need to force
1331 directions, you can use @code{_} to force them down, or @code{^} to
1333 @lilypond[fragment, verbatim]
1338 Other symbols can be added using the syntax
1339 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1340 using @code{^} and @code{_}.
1344 \property Score.LyricSyllable \override #'font-family =#'typewriter
1345 \property Score.LyricSyllable \override #'font-shape = #'upright
1346 \context Staff \notes {
1347 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1348 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1349 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1350 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1351 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1352 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1353 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1354 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1356 \context Lyrics \lyrics {
1357 accent__ marcato__ staccatissimo__ fermata
1358 stopped__ staccato__ tenuto__ upbow
1359 downbow__ lheel__ rheel__ ltoe
1360 rtoe__ turn__ open__ flageolet
1361 reverseturn__ trill__ prall__ mordent
1362 prallprall__ prallmordent__ uprall__ downprall
1363 upmordent__ downmordent__ pralldown__ prallup__
1364 lineprall__ thumb__ segno__ coda
1368 linewidth = 5.875\in
1377 Fingering instructions can also be entered in this shorthand. For
1378 finger changes, use markup texts:
1380 @lilypond[verbatim, singleline, fragment]
1381 c'4-1 c'4-2 c'4-3 c'4-4
1386 @cindex @code{\script}
1391 Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
1395 All of these note ornaments appear in the printed output but have no
1396 effect on the MIDI rendering of the music.
1398 Unfortunately, there is no support for adding fingering instructions or
1399 ornaments to individual note heads. Some hacks exist, though. See
1400 @file{input/test/script-horizontal.ly}.
1405 @subsection Text scripts
1406 @cindex Text scripts
1408 In addition, it is possible to place arbitrary strings of text or markup
1409 text (see @ref{Text markup}) above or below notes by using a string:
1412 By default, these indications do not influence the note spacing, but
1413 by using the command @code{\fatText}, the widths will be taken into
1416 @lilypond[fragment,singleline,verbatim] \relative c' {
1417 c4^"longtext" \fatText c4_"longlongtext" c4 }
1420 Text scripts are created in form of @internalsref{TextScript} grobs, in
1421 @internalsref{Voice} context.
1423 @ref{Text markup} describes how to change the font or access
1424 special symbols in text scripts.
1427 @node Adding scripts
1428 @subsection Adding scripts
1430 TODO: should junk this subsect?
1432 You can add scripts by editing @file{scm/script.scm} and
1433 @file{ly/script-init.ly}. This file contains a table, listing script
1434 definitions and aliases. The following syntax accesses a script
1435 definition from the table:
1441 Usually the @code{\script} keyword is not used directly. Various
1442 helpful identifier definitions appear in @file{script.ly}.
1447 @subsection Grace notes
1452 @cindex @code{\grace}
1455 @cindex @code{graceAlignPosition}
1458 Grace notes are ornaments that are written out, but do not take up any
1459 logical time in a measure. LilyPond has limited support for grace notes.
1460 The syntax is as follows.
1462 \grace @var{musicexpr}
1465 Unbeamed eighth notes and shorter by default have a slash through the
1468 @lilypond[fragment,verbatim]
1469 \relative c'' \context Voice {
1470 \grace c8 c4 \grace { [c16 c16] } c4
1472 \property Voice.Stem \override #'flag-style = #'()
1474 \property Voice.Stem \revert #'flag-style
1479 A grace note expression has duration 0; the next real note is assumed to
1480 be the main note. If you want the note to appear after the main note,
1481 set @code{Voice.graceAlignPosition} to @code{1}.
1485 Nesting @code{\grace} notes is not supported. The following may cause
1486 run-time errors: @example
1487 @code{\grace @{ \grace c32 c16 @} c4}
1489 Since the meaning of such a construct is unclear, we don't consider this
1490 a loss. Similarly, juxtaposing two @code{\grace} sections is
1491 syntactically valid, but makes no sense and may cause runtime errors.
1492 Ending a staff or score with grace notes may also generate a run-time
1493 error, since there will be no main note to attach the grace notes to.
1504 @subsection Glissando
1507 @cindex @code{\glissando}
1509 A glissando line (grob @internalsref{Glissando}) can be requested by
1510 attaching a @code{\glissando} to a notte:
1512 @lilypond[fragment,relative,verbatim]
1518 Printing of an additional text (such as @emph{gliss.}) must be done
1525 @subsection Dynamics
1538 @cindex @code{\ffff}
1548 Absolute dynamic marks are specified using an identifier after a
1549 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1550 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1551 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1552 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1554 @lilypond[verbatim,singleline,fragment,relative]
1555 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1561 @cindex @code{\decr}
1562 @cindex @code{\rced}
1568 A crescendo mark is started with @code{\cr} and terminated with
1569 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1570 started with @code{\decr} and terminated with @code{\rced}. There are
1571 also shorthands for these marks. A crescendo can be started with
1572 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1573 can be terminated with @code{\!}. Note that @code{\!} must go before
1574 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1575 after the last note. Because these marks are bound to notes, if you
1576 want several marks during one note, you have to use spacer notes.
1578 @lilypond[fragment,verbatim,center]
1579 c'' \< \! c'' d'' \decr e'' \rced
1580 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1583 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1584 is an example how to do it:
1589 @lilypond[fragment,relative,verbatim]
1591 \property Voice.crescendoText = "cresc."
1592 \property Voice.crescendoSpanner = #'dashed-line
1597 For everyday use, we recommend the identifiers @code{\cresc},
1598 @code{endcresc}, @code{\dim} and @code{\enddim}.
1602 Dynamics are grobs of @internalsref{DynamicText} and
1603 @internalsref{Hairpin}. Vertical positioning of these symbols is handled
1604 by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
1605 padding or vertical direction of the dynamics, you must set properties
1606 for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
1607 to set the vertical direction are \dynamicUp and \dynamicDown.
1609 @cindex direction, of dynamics
1610 @cindex @code{\dynamicDown}
1611 @cindex @code{\dynamicUp}
1619 @cindex @code{\repeat}
1621 To specify repeats, use the @code{\repeat} keyword. Since repeats
1622 should work differently when played or printed, there are a few
1623 different variants of repeats.
1627 Repeated music is fully written (played) out. Useful for MIDI
1628 output, and entering repetitive music.
1631 This is the normal notation: Repeats are not written out, but
1632 alternative endings (voltas) are printed, left to right.
1635 Alternative endings are written stacked. This has limited use but may be
1636 used to typeset two lines of lyrics in songs with repeats, see
1637 @file{input/star-spangled-banner.ly}.
1643 Make beat or measure repeats. These look like percent signs.
1649 * Repeats and MIDI::
1650 * Manual repeat commands::
1652 * Tremolo subdivisions::
1657 @subsection Repeat syntax
1659 The syntax for repeats is
1662 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1665 If you have alternative endings, you may add
1666 @cindex @code{\alternative}
1668 \alternative @code{@{} @var{alternative1}
1670 @var{alternative3} @dots{} @code{@}}
1672 where each @var{alternative} is a music expression.
1674 Normal notation repeats are used like this:
1675 @lilypond[fragment,verbatim]
1677 \repeat volta 2 { c'4 d' e' f' }
1678 \repeat volta 2 { f' e' d' c' }
1681 With alternative endings:
1682 @lilypond[fragment,verbatim]
1684 \repeat volta 2 {c'4 d' e' f'}
1685 \alternative { {d'2 d'} {f' f} }
1688 Folded repeats look like this:
1691 @lilypond[fragment,verbatim]
1693 \repeat fold 2 {c'4 d' e' f'}
1694 \alternative { {d'2 d'} {f' f} }
1698 If you don't give enough alternatives for all of the repeats, then
1699 the first alternative is assumed to be repeated often enough to equal
1700 the specified number of repeats.
1702 @lilypond[fragment,verbatim]
1706 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1707 \alternative { { g4 g g } { a | a a a a | b2. } }
1712 @node Repeats and MIDI
1713 @subsection Repeats and MIDI
1715 @cindex expanding repeats
1717 For instructions on how to unfoldi repeats for MIDI output, see
1718 the example file @file{input/test/unfold-all-repeats.ly}.
1723 Notice that timing information is not remembered at the start of an
1724 alternative, so you have to reset timing information after a repeat,
1725 e.g. using a bar-check (See @ref{Bar check}), setting
1726 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1727 are also not repeated.
1729 It is possible to nest @code{\repeat}s, although this probably is only
1730 meaningful for unfolded repeats.
1732 Folded repeats offer little more over simultaneous music. However, it
1733 is to be expected that more functionality -- especially for the MIDI
1734 backend -- will be implemented at some point in the future.
1736 Volta repeats are printed over all staves in a score. You must turn them
1737 off explicitly, for example by doing
1739 \property Staff.VoltaBracket = \turnOff
1741 in all but the top staff.
1743 @node Manual repeat commands
1744 @subsection Manual repeat commands
1746 @cindex @code{repeatCommands}
1748 The property @code{repeatCommands} can be used to control the layout of
1749 repeats. Its value is a Scheme list of repeat commands, where each repeat
1757 @item (volta . @var{text})
1758 Print a volta bracket saying @var{text}.
1760 Stop a running volta bracket
1763 @lilypond[verbatim, fragment]
1765 \property Score.repeatCommands = #'((volta "93") end-repeat)
1767 \property Score.repeatCommands = #'((volta #f))
1772 Repeats brackets are @internalsref{VoltaBracket} grobs.
1774 @node Tremolo repeats
1775 @subsection Tremolo repeats
1776 @cindex tremolo beams
1778 To place tremolo marks between notes, use @code{\repeat} with tremolo
1780 @lilypond[verbatim,center,singleline]
1782 \context Voice \notes\relative c' {
1783 \repeat "tremolo" 8 { c16 d16 }
1784 \repeat "tremolo" 4 { c16 d16 }
1785 \repeat "tremolo" 2 { c16 d16 }
1786 \repeat "tremolo" 4 c16
1791 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
1792 @internalsref{StemTremolo}.
1797 At present, the spacing between tremolo beams is not regular, since the
1798 spacing engine does not notice that not all notes are printed.
1800 @node Tremolo subdivisions
1801 @subsection Tremolo subdivisions
1802 @cindex tremolo marks
1803 @cindex @code{tremoloFlags}
1805 Tremolo marks can be printed on a single note by adding
1806 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1807 A @var{length} value of 8 gives one line across the note stem. If the
1808 length is omitted, then then the last value (stored in
1809 @code{Voice.tremoloFlags}) is used.
1811 @lilypond[verbatim,fragment,center]
1812 c'2:8 c':32 | c': c': |
1818 Tremolos in this style do not carry over into the MIDI output.
1821 @node Measure repeats
1822 @subsection Measure repeats
1824 @cindex percent repeats
1825 @cindex measure repeats
1827 In the @code{percent} style, a note pattern can be repeated. It is
1828 printed once, and then the pattern is replaced with a special sign.
1829 Patterns of a one and two measures are replaced by percent-like signs,
1830 patterns that divide the measure length are replaced by slashes.
1832 @lilypond[verbatim,singleline]
1833 \context Voice { \repeat "percent" 4 { c'4 }
1834 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1838 The signs are represented by these grobs: @internalsref{RepeatSlash} and
1839 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
1843 You can not nest percent repeats, e.g. by filling in the first measure
1844 with slashes, and repeating that measure with percents.
1846 @node Rhythmic music
1847 @section Rhythmic music
1854 @node Rhythmic staves
1855 @subsection Rhythmic staves
1857 Sometimes you might want to show only the rhythm of a melody. This can
1858 be done with the rhythmic staff. All pitches of notes on such a staff
1859 are squashed, and the staff itself looks has a single staff line:
1861 @lilypond[fragment,relative,verbatim]
1862 \context RhythmicStaff {
1864 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1871 @section Piano music
1873 Piano music is an odd type of notation. Piano staves are two normal
1874 staves coupled with a brace. The staves are largely independent, but
1875 sometimes voices can cross between the two staves. The
1876 @internalsref{PianoStaff} is especially built to handle this cross-staffing
1877 behavior. In this section we discuss the @internalsref{PianoStaff} and some
1878 other pianistic peculiarities.
1881 * Automatic staff changes::
1882 * Manual staff switches::
1885 * Voice follower lines::
1889 @c . {Automatic staff changes}
1890 @node Automatic staff changes
1891 @subsection Automatic staff changes
1892 @cindex Automatic staff changes
1894 Voices can switch automatically between the top and the bottom
1895 staff. The syntax for this is
1897 \autochange @var{contexttype} \context @var{childcontexttype}
1901 This will switch the interpretation context of @var{musicexp} between
1902 a @var{contexttype} named @code{up} and @code{down}. Typically, you
1903 use @internalsref{Staff} for @var{contexttype}, and
1904 @internalsref{Voice} for @var{childcontexttype}. The autochanger
1905 switches on basis of pitch (central C is the turning point), and it
1906 looks ahead skipping over rests to switch rests in advance.
1908 @lilypond[verbatim,singleline]
1909 \score { \notes \context PianoStaff <
1910 \context Staff = "up" {
1911 \autochange Staff \context Voice = VA < \relative c' {
1912 g4 a b c d r4 a g } > }
1913 \context Staff = "down" {
1919 Note how spacer rests are used to prevent the bottom staff from
1920 terminating too soon.
1923 @node Manual staff switches
1924 @subsection Manual staff switches
1926 @cindex manual staff switches
1927 @cindex staff switch, manual
1929 Voices can be switched between staves manually, using the following command:
1931 \translator Staff = @var{staffname} @var{music}
1933 The string @var{staffname} is the name of the staff. It switches the
1934 current voice from its current staff to the Staff called
1935 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1938 The formal definition of this construct is obtuse, but for the sake of
1939 completeness we give it here.
1940 @cindex @code{\translator}
1942 \translator @var{contexttype} = @var{name}
1944 Formally, this construct is a music expression indicating
1945 that the context which is a direct child of the context of type
1946 @var{contexttype} should be shifted to a context of type
1947 @var{contexttype} and the specified name.
1955 Piano pedal instruction can be expressed using
1956 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1957 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1959 These identifiers are shorthands for spanner commands of the types
1960 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
1962 @lilypond[fragment,verbatim]
1963 c''4 \spanrequest \start "Sustain" c''4
1964 c''4 \spanrequest \stop "Sustain"
1967 The symbols that are printed can be modified by setting
1968 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
1969 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
1970 @rgrob{SustainPedal}, for example, for more information.
1972 Pedals can also be indicated by a sequence of brackets, by setting the
1973 @code{pedal-type} property of SustainPedal grobs:
1975 @lilypond[fragment,verbatim]
1976 \property Staff.SustainPedal \override #'pedal-type = #'bracket
1977 c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1980 A third style of pedal notation is a mixture of text and brackets,
1981 obtained by setting @code{pedal-type} to @code{mixed}:
1983 @lilypond[fragment,verbatim]
1984 \property Staff.SustainPedal \override #'pedal-type = #'mixed
1985 c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1988 The default '*Ped' style for sustain and damper pedals corresponds to
1989 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
1990 for a sostenuto pedal:
1992 @lilypond[fragment,verbatim]
1993 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
1996 For fine-tuning of the appearance of a pedal bracket, the properties
1997 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
1998 @code{PianoPedalBracket} grobs (see the detailed documentation of
1999 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2000 may be extended to the end of the note head.
2002 @lilypond[fragment,verbatim]
2003 \property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
2004 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2011 @subsection Arpeggio
2014 @cindex broken arpeggio
2015 @cindex @code{\arpeggio}
2017 You can specify an arpeggio sign on a chord by attaching an
2018 @code{\arpeggio} to a note of the chord.
2021 @lilypond[fragment,relative,verbatim]
2022 \context Voice <c\arpeggio e g c>
2025 When an arpeggio crosses staves in piano music, you attach an arpeggio
2026 to the chords in both staves, and set
2027 @code{PianoStaff.connectArpeggios}.
2029 @lilypond[fragment,relative,verbatim]
2030 \context PianoStaff <
2031 \property PianoStaff.connectArpeggios = ##t
2032 \context Voice = one { <c'\arpeggio e g c> }
2033 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2037 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2038 are @code{PianoStaff.Arpeggio}.
2040 To add an arrow head to explicitly specify the direction of the
2041 arpeggio, you should set the arpeggio grob property
2042 @code{arpeggio-type}.
2044 @lilypond[fragment,relative,verbatim]
2046 \property Voice.Arpeggio \override #'arpeggio-direction = #1
2048 \property Voice.Arpeggio \override #'arpeggio-direction = #-1
2053 A square bracket on the left indicates that the player should not
2054 arpeggiate the chord. To draw these brackets, set the
2055 @code{molecule-callback} property of @code{Arpeggio} or
2056 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2057 @code{\arpeggio} statements within the chords as before.
2059 @lilypond[fragment,relative,verbatim]
2060 \context PianoStaff <
2061 \property PianoStaff.connectArpeggios = ##t
2062 \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
2063 \context Voice = one { <c'\arpeggio e g c> }
2064 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2071 It is not possible to mix connected arpeggios and unconnected arpeggios
2076 @node Voice follower lines
2077 @subsection Voice follower lines
2079 @cindex follow voice
2080 @cindex staff switching
2083 @cindex @code{followVoice}
2085 Whenever a voice switches to another staff a line connecting the notes
2086 can be printed automatically. This is enabled if the property
2087 @code{PianoStaff.followVoice} is set to true:
2089 @lilypond[fragment,relative,verbatim]
2090 \context PianoStaff <
2091 \property PianoStaff.followVoice = ##t
2092 \context Staff \context Voice {
2094 \translator Staff=two
2097 \context Staff=two {\clef bass \skip 1*2 }
2101 The associated grob is @internalsref{VoiceFollower}.
2108 * Tablatures basic::
2109 * Non-guitar tablatures::
2110 * Tablature in addition to normal staff::
2113 @node Tablatures basic
2114 @subsection Tablatures basic
2115 @cindex Tablatures basic
2117 Tablature can be typeset with Lilypond by using the
2118 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2119 tablatures is a recent feature in Lilypond, most of the guitar special
2120 effects (hammer, pull, bend, ...) are not yet supported.
2122 With the @internalsref{TabStaff}, the string number associated to a note
2123 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2124 quarter on the third string. The string 1 is the lowest one, and the
2125 tuning defaults to the standard guitar tuning (with 6 strings).
2127 @lilypond[fragment,verbatim]
2130 \property Staff.Stem \override #'direction = #1
2139 @node Non-guitar tablatures
2140 @subsection Non-guitar tablatures
2141 @cindex Non-guitar tablatures
2143 There are many ways to customize Lilypond tablatures.
2145 First you can change the number of string, e.g.
2146 @code{StaffSymbol \override #'line-count = #5} to have only 5 strings.
2147 Because of a kind of bug in Lilypond, you MUST create a new type of
2148 context if you want different tablatures with diiferent number of
2151 Then you can change the strings tuning. String tuning is given as a
2152 Scheme list with one integer number for each string, the number being
2153 the string note pitch if not fretted (open note).
2155 Finally, it is possible to change the Scheme function to format the
2156 tablature note text. The default is @var{fret-number-tablature-format},
2157 which uses the fret number, but for some instruments that may not use
2158 this notation, just create your own tablature-format function. This
2159 function takes three argument: the string number, the string tuning and
2163 @node Tablature in addition to normal staff
2164 @subsection Tablature in addition to normal staff
2165 @cindex Tablature in addition to normal staff
2167 It is possible to typeset both tablature and a "normal" staff, as
2168 commonly done in many parts.
2170 A common trick for that is to put the notes in a variables, and to hide
2171 the fingering information (which correspond to the string number) for
2174 @lilypond[fragment,verbatim]
2179 \context StaffGroup <
2181 % Hide fingering number (used for string number) for the "normal" staff
2182 \property Staff.Fingering \override #'transparent = ##t
2187 \property Staff.Stem \override #'direction = #1
2203 * Automatic syllable durations::
2209 @subsection Lyrics mode
2212 To print lyrics, you must first make a music expression from the lyric
2213 text. That music expression can be printed by selecting an appropriate
2217 @cindex @code{\lyrics}
2219 You can enter lyrics in a special input mode of LilyPond. This mode is
2220 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
2221 The purpose of this mode is that you can enter lyrics as plain text,
2222 punctuation and accents without any hassle.
2224 Syllables are entered like notes, with pitches replaced by text. For
2225 example, @code{Twin- kle twin- kle} enters four syllables. Note that
2226 the hyphen has no special meaning for lyrics, and does not introduce
2229 Spaces can be introduced into a lyric either by using quotes:
2230 @code{"He could"4 not4} or by using an underscore without quotes:
2231 @code{He_could4 not4}. All unquoted underscores are converted to
2234 The precise definition of this mode can be found in @ref{Lyrics mode
2237 @c . {Printing lyrics}
2238 @node Printing lyrics
2239 @subsection Printing lyrics
2242 Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
2244 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
2245 @c Add tied and beamed melismata too.
2246 @lilypond[verbatim,singleline]
2248 \notes \relative c' {
2250 \property Staff.automaticMelismata = ##t
2251 d'2 c4 b16 ( a g a b a b ) c a2
2252 b2 c4 b8 ( a16 g ) a4 g2 }
2253 \context Lyrics \lyrics {
2255 share the soft -- ware; }
2259 Notes and syllable durations are matched automatically. This is
2260 accomplished using @code{\addlyrics}, which is documented in
2261 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2262 the melody staff will cause tied, slurred or beamed notes to be
2263 interpreted as melismata.
2265 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2268 @cindex lyric extender
2271 As you can see, extender lines are entered as @code{__}. This will
2272 create an extender, a line that extends over the entire duration of the
2273 lyric. This line will run all the way to the start of the next lyric,
2274 so you may want to shorten it by using a blank lyric (using @code{_}).
2275 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2280 If you want to have hyphens centered between syllables (rather than
2281 attached to the end of the first syllable) you can use the special
2282 `@code{-}@code{-}' lyric as a separate word between syllables. This
2283 will result in a hyphen whose length varies depending on the space
2284 between syllables. It will be centered between the syllables. The grob
2285 for this symbol is @code{LyricsVoice.LyricHyphen}.
2287 @cindex Lyric hyphen
2289 @node Automatic syllable durations
2290 @subsection Automatic syllable durations
2291 @cindex Automatic syllable durations
2293 @cindex automatic lyric durations
2294 @cindex @code{\addlyrics}
2296 If you have lyrics that are set to a melody, you can copy the rhythm
2297 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2300 \addlyrics @var{musicexpr1 musicexpr2}
2303 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2304 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2305 when there are events in @var{musicexpr1}.
2307 @cindex @code{automaticMelismata}
2309 If the property @code{automaticMelismata} is set in the
2310 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2313 @lilypond[verbatim,fragment]
2316 \property Voice.automaticMelismata = ##t
2317 c8 () cis d8. e16 f2
2319 \context Lyrics \lyrics {
2323 If you want the lyric lines to be above the melody staff, or in some
2324 other, more complex configuration, then build that configuration first
2325 using simultaneous music, and use @code{\addlyrics} after that.
2327 @lilypond[verbatim, singleline]
2329 \context Lyrics = LA { s1 }
2330 \context Staff = SA { s1 }
2332 \context Staff = SA \relative c' { c4 e g g }
2333 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2336 For @code{\addlyrics} you should use a single rhythm melody, and single
2337 rhythm lyrics (a constant duration is the obvious choice). If you do
2338 not, you can get undesired effects when using multiple stanzas:
2340 @lilypond[verbatim,fragment]
2343 c8 () cis d8. e16 f2
2345 \context Lyrics \lyrics
2350 It is valid (but probably not very useful) to use notes instead of
2351 lyrics for @var{musicexpr2}.
2354 @subsection More stanzas
2358 If you have multiple stanzas printed underneath each other, the vertical
2359 groups of syllables should be aligned around punctuation. LilyPond can
2360 do this if you tell it which lyric lines belong to which melody.
2362 To this end, give the Voice context an identity, and set the LyricsVoice
2363 to a name starting with that identity followed by a dash.
2364 In the following example, the Voice
2365 identity is @code{duet}, and the identities of the LyricsVoices are
2366 @code{duet-1} and @code{duet-2}.
2369 @lilypond[singleline,verbatim]
2372 \notes \relative c'' \context Voice = duet { \time 3/4
2374 \lyrics \context Lyrics <
2375 \context LyricsVoice = "duet-1" {
2376 \property LyricsVoice . stanza = "Bert"
2377 Hi, my name is bert. }
2378 \context LyricsVoice = "duet-2" {
2379 \property LyricsVoice . stanza = "Ernie"
2380 Ooooo, ch\'e -- ri, je t'aime. }
2385 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2386 first system) and @code{LyricsVoice.stz} for the following
2387 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2393 @cindex stanza numbering
2401 LilyPond has support for both entering and printing chords. Chords are
2402 characterized by a set of pitches. They are
2403 internally stored as simultaneous music expressions. This means you can
2404 enter chords by name and print them as note head, enter them as notes
2405 and print them as chord names, or (the most common case) enter them by
2406 name, and print them as name.
2409 @lilypond[verbatim,singleline]
2410 twoWays = \notes \transpose c'' {
2420 < \context ChordNames \twoWays
2421 \context Voice \twoWays > }
2424 Note that this example also shows that the chord printing routines do
2425 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2426 interpret this as an inversion.
2430 * Printing named chords::
2435 @subsection Chords mode
2438 Chord mode is a mode where you can input sets of pitches using common
2439 names. It is introduced by the keyword @code{\chords}. It is similar
2440 to note mode, but words are also looked up in a chord modifier table
2441 (containing @code{maj}, @code{dim}, etc).
2443 Dashes and carets are used to indicate chord additions and subtractions,
2444 so articulation scripts can not be entered in Chord mode.
2446 The syntax for named chords is as follows:
2448 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2451 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2452 the chord duration in the usual notation. There are two kinds of
2453 modifiers. One type is formed by @emph{chord additions}. Additions are
2454 obtained by listing intervals separated by dots. An interval is written
2455 by its number with an optional @code{+} or @code{-} to indicate raising
2456 or lowering by half a step. Chord additions have two effects: they adds
2457 the specified interval and all lower odd numbered intervals to the
2458 chord, and they may lower or raise the specified interval.
2460 Throughout these examples, chords have been shifted around the staff
2461 using @code{\transpose}.
2463 @lilypond[fragment,verbatim]
2467 c:9 c:9-.5+.7+ c:3-.5-
2477 The second type of modifier that may appear after the @code{:} is a
2478 named modifier. Named modifiers are listed in the file
2479 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2480 @code{min} which lower the 3rd half a step, `@code{aug}' which
2481 raises the 5th, `@code{dim}' which lowers the 5th,
2482 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2483 which replaces the 5th with a 4th.
2485 @lilypond[fragment,verbatim]
2488 c1:m c:min7 c:maj c:aug c:dim c:sus
2494 Chord subtractions are used to eliminate notes from a chord. The
2495 notes to be subtracted are listed after a @code{^} character,
2498 @lilypond[fragment,verbatim,center]
2507 Chord inversions can be specified by appending `@code{/}' and the name
2508 of a single note to a chord. In a chord inversion, the inverted note is
2509 transposed down until it is the lowest note in the chord. If the note
2510 is not in the chord, a warning will be printed.
2512 @lilypond[fragment,verbatim,center]
2522 Bass notes can be added by `@code{/+}' and
2523 the name of a single note to a chord. This has the effect of
2524 adding the specified note to the chord, lowered by an octave,
2525 so it becomes the lowest note in the chord.
2527 @lilypond[fragment,verbatim,center]
2538 Implementation details are quite gory. For example @code{c:4} not only
2539 adds a fourth, but also removes the third.
2542 @c . {Printing named chords}
2543 @node Printing named chords
2544 @subsection Printing named chords
2546 @cindex printing chord names
2550 For displaying printed chord names, use the @internalsref{ChordNames} context.
2551 The chords may be entered either using the notation described above, or
2552 directly using simultaneous music.
2554 @lilypond[verbatim,singleline]
2556 \chords {a1 b c} <d f g> <e g b>
2560 \context ChordNames \scheme
2561 \context Staff \transpose c'' \scheme
2566 You can make the chord changes stand out by setting
2567 @code{ChordNames.chordChanges} to true. This will only display chord
2568 names when there's a change in the chords scheme and at the start of a
2573 c1:m c:m \break c:m c:m d
2577 \context ChordNames {
2578 \property ChordNames.chordChanges = ##t
2580 \context Staff \transpose c'' \scheme
2584 LilyPond examines chords specified as lists of notes to determine a name
2585 to give the chord. LilyPond will not try to identify chord inversions or
2586 an added bass note, which may result in strange chord names when chords
2587 are entered as a list of pitches:
2589 @lilypond[verbatim,center,singleline]
2598 \context ChordNames \scheme
2599 \context Staff \scheme
2605 By default, a chord name system proposed by Harald Banter (See
2606 @ref{Literature}) is used. The system is very regular and predictable.
2607 Typical American style chord names may be selected by setting the
2608 @code{style} property of the @code{ChordNames.ChordName} grob to
2609 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2611 Routines that determine the names to be printed are written in Scheme,
2612 and may be customized by the user. The code can be found in
2613 @file{scm/chord-name.scm}. Here's an example showing the differences in
2617 @c maybe just junk verbatim option?
2618 @lilypond[verbatim,singleline]
2628 \context ChordNames = banter \scheme
2629 \context ChordNames = american {
2630 \property ChordNames.ChordName \override
2631 #'style = #'american \scheme }
2632 \context ChordNames = jazz {
2633 \property ChordNames.ChordName \override
2634 #'style = #'jazz \scheme }
2635 \context Staff \transpose c'' \scheme
2642 @section Writing parts
2644 Orchestral music involves some special notation, both in the full score,
2645 as in the individual parts. This section explains how to tackle common
2646 problems in orchestral music.
2653 * Instrument names::
2655 * Sound output for transposing instruments::
2656 * Multi measure rests::
2657 * Automatic part combining::
2658 * Hara kiri staves::
2661 @c . {Rehearsal marks}
2662 @node Rehearsal marks
2663 @subsection Rehearsal marks
2664 @cindex Rehearsal marks
2666 @cindex @code{\mark}
2670 \mark @var{unsigned}
2675 This command prints a rehearsal mark above the system. You can provide
2676 a number, a string or a markup text as argument. If you use
2677 @code{\default}, the value of property @code{rehearsalMark} is used and
2678 automatically incremented.
2680 @lilypond[fragment,verbatim]
2686 c1 \mark #'(music "scripts-segno")
2691 The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
2692 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2695 @subsection Bar numbers
2699 @cindex measure numbers
2700 @cindex currentBarNumber
2702 Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
2703 start of the line. The number itself is a property that can be set by
2704 modifying the @code{currentBarNumber} property, i.e.
2706 \property Score.currentBarNumber = #217
2709 If you want boxed bar numbers, see the example file
2710 @code{input/test/boxed-molecule.ly}.
2714 It is not possible to have bar numbers printed at regular intervals
2717 @node Instrument names
2718 @subsection Instrument names
2720 You can specify an instrument name for a staff by setting
2721 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2722 before the start of the staff. For the first start, @code{instrument} is
2723 used, for the next ones @code{instr} is used.
2725 @lilypond[verbatim,singleline]
2726 \property Staff.instrument = "ploink " { c''4 }
2729 You can also use markup texts to construct more complicated instrument
2733 @lilypond[verbatim,singleline]
2735 '((font-relative-size . -2 ) (music "accidentals--1")))
2738 \property Staff.instrument = #`((kern . 0.5) (lines
2739 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2747 When you put a name on a grand staff or piano staff the width of the
2748 brace is not taken into account. You must add extra spaces to the end of
2749 the name to avoid a collision.
2752 @subsection Transpose
2754 @cindex transposition of pitches
2755 @cindex @code{\transpose}
2757 A music expression can be transposed with @code{\transpose}. The syntax
2760 \transpose @var{pitch} @var{musicexpr}
2763 This means that middle C in @var{musicexpr} is transposed to
2766 @code{\transpose} distinguishes between enharmonic pitches: both
2767 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2768 a tone. The first version will print sharps and the second version
2771 @lilypond[fragment,verbatim]
2774 { \key e \major c d e f }
2776 \transpose des'' { \key e \major c d e f }
2777 \transpose cis'' { \key e \major c d e f }
2781 If you want to use both @code{\transpose} and @code{\relative}, then
2782 you must use @code{\transpose} first. @code{\relative} will have no
2783 effect music that appears inside a @code{\transpose}.
2785 @node Sound output for transposing instruments
2786 @subsection Sound output transposing instruments
2788 When you want to make a MIDI file from a score containing transposed and
2790 instruments, you have to instruct LilyPond the pitch offset (in
2791 semitones) for the transposed instruments. This is done using the
2792 @code{transposing} property. It does not affect printed output.
2794 @cindex @code{transposing}
2797 \property Staff.instrument = #"Cl. in B-flat"
2798 \property Staff.transposing = #-2
2801 @c . {Multi measure rests}
2802 @node Multi measure rests
2803 @subsection Multi measure rests
2804 @cindex Multi measure rests
2808 Multi measure rests are entered using `@code{R}'. It is specifically
2809 meant for full bar rests and for entering parts: the rest can expand to
2811 rests, or it can be printed as a single multimeasure rest This expansion
2812 is controlled by the property @code{Score.skipBars}. If this is set to true,
2813 Lily will not expand empty measures, and the appropriate number is added
2816 @lilypond[fragment,verbatim]
2817 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2820 Notice that the @code{R2.} is printed as a whole rest, centered in the
2823 @cindex whole rests for a full measure
2825 The grob for this object is @internalsref{MultiMeasureRest}.
2829 Currently, there is no way to automatically condense multiple rests into
2830 a single multimeasure rest.
2832 @cindex condensing rests
2834 @node Automatic part combining
2835 @subsection Automatic part combining
2836 @cindex automatic part combining
2837 @cindex part combiner
2840 Automatic part combining is used to merge two parts of music onto a
2841 staff in an intelligent way. It is aimed primarily at typesetting
2842 orchestral scores. When the two parts are identical for a period of
2843 time, only one is shown. In places where the two parts differ, they are
2844 typeset as separate voices, and stem directions are set automatically.
2845 Also, solo and @emph{a due} parts can be identified and marked.
2847 The syntax for part combining is
2850 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2852 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2853 combined into one context of type @var{context}. The music expressions
2854 must be interpreted by contexts whose names should start with @code{one}
2857 The most useful function of the part combiner is to combine parts into
2858 one voice, as common for wind parts in orchestral scores:
2860 @lilypond[verbatim,singleline,fragment]
2862 \context Voice=one \partcombine Voice
2863 \context Thread=one \relative c'' {
2866 \context Thread=two \relative c'' {
2872 Notice that the first @code{g} appears only once, although it was
2873 specified twice (once in each part). Stem, slur and tie directions are
2874 set automatically, depending whether there is a solo or unisono. The
2875 first part (with context called @code{one}) always gets up stems, and
2876 `solo', while the second (called @code{two}) always gets down stems and
2879 If you just want the merging parts, and not the textual markings, you
2880 may set the property @var{soloADue} to false.
2882 @lilypond[verbatim,singleline,fragment]
2884 \property Staff.soloADue = ##f
2885 \context Voice=one \partcombine Voice
2886 \context Thread=one \relative c'' {
2889 \context Thread=two \relative c'' {
2895 There are a number of other properties that you can use to tweak the
2896 behavior of part combining, refer to the automatically generated
2897 documentation of @reng{Thread_devnull_engraver} and
2898 @reng{Voice_devnull_engraver}. Look at the documentation of the
2899 responsible engravers, @code{Thread_devnull_engraver},
2900 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2904 In @code{soloADue} mode, when the two voices play the same notes on and
2905 off, the part combiner may typeset @code{a2} more than once in a
2908 @lilypond[fragment,singleline]
2910 \context Voice=one \partcombine Voice
2911 \context Thread=one \relative c'' {
2914 \context Thread=two \relative c'' {
2920 @cindex @code{Thread_devnull_engraver}
2921 @cindex @code{Voice_engraver}
2922 @cindex @code{A2_engraver}
2924 @node Hara kiri staves
2925 @subsection Hara kiri staves
2927 In orchestral scores, staff lines that only have rests are usually removed.
2928 This saves some space. LilyPond also supports this through the hara
2929 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2930 the Japanese Samourai warriors.} staff. This staff commits suicide when
2931 it finds itself to be empty after the line-breaking process. It will
2932 not disappear when it contains normal rests, you must use multi measure
2935 The hara kiri staff is specialized version of the @internalsref{Staff}
2936 context. It is available as the context identifier
2937 @code{\HaraKiriStaffContext}. Observe how the second staff in this
2938 example disappears in the second line.
2942 \notes \relative c' <
2943 \context Staff = SA { e4 f g a \break c1 }
2944 \context Staff = SB { c4 d e f \break R1 }
2948 \translator { \HaraKiriStaffContext }
2956 @node Ancient notation
2957 @section Ancient notation
2960 * Ancient note heads::
2965 @node Ancient note heads
2966 @subsection Ancient note heads
2968 To get a longa note head, you have to use mensural note heads. This
2969 is accomplished by setting the @code{style} property of the
2970 NoteHead grob to @code{mensural}. There is also a note head style
2971 @code{baroque} which gives mensural note heads for @code{\longa} and
2972 @code{\breve} but standard note heads for shorter notes.
2974 @lilypond[fragment,singleline,verbatim]
2975 \property Voice.NoteHead \set #'style = #'mensural
2976 \property Voice.NoteHead \set #'font-family = #'ancient
2981 @subsection Custodes
2986 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2987 staff context symbol that appears at the end of a staff line. It
2988 anticipates the pitch of the first note(s) of the following line and
2989 thus helps the player or singer to manage line breaks during
2990 performance, thus enhancing readability of a score.
2995 \property Staff.Custos \set #'style = #'mensural
3000 \consists Custos_engraver
3006 Custodes were frequently used in music notation until the 17th century.
3007 There were different appearances for different notation styles.
3008 Nowadays, they have survived only in special forms of musical notation
3009 such as via the @emph{editio vaticana} dating back to the beginning of
3012 For typesetting custodes, just put a @code{Custos_engraver} into the
3013 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3014 block, you can also globally control the appearance of the custos symbol
3015 by setting the custos @code{style} property. Currently supported styles
3016 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3023 \consists Custos_engraver
3024 Custos \override #'style = #'mensural
3029 The property can also be set locally, for example in a @code{\notes}
3034 \property Staff.Custos \override #'style = #'vaticana
3035 c'1 d' e' d' \break c' d' e' d'
3040 @section Ancient clefs
3042 LilyPond supports a variety of clefs, many of them ancient. These can
3043 be selected from the @code{ancient} font family, by setting
3044 @code{Staff.clefGlyph}) to the following values
3053 @item clefs-vaticana_do
3054 Editio Vaticana style do clef
3055 @item clefs-vaticana_fa
3056 Editio Vaticana style fa clef
3057 @item clefs-medicaea_do
3058 Editio Medicaea style do clef
3059 @item clefs-medicaea_fa
3060 Editio Medicaea style fa clef
3061 @item clefs-mensural1_c
3062 modern style mensural C clef
3063 @item clefs-mensural2_c
3064 historic style small mensural C clef
3065 @item clefs-mensural3_c
3066 historic style big mensural C clef
3067 @item clefs-mensural1_f
3068 historic style traditional mensural F clef
3069 @item clefs-mensural2_f
3070 historic style new mensural F clef
3071 @item clefs-mensural_g
3072 historic style mensural G clef
3073 @item clefs-hufnagel_do
3074 historic style hufnagel do clef
3075 @item clefs-hufnagel_fa
3076 historic style hufnagel fa clef
3077 @item clefs-hufnagel_do_fa
3078 historic style hufnagel combined do/fa clef
3079 @item clefs-percussion
3080 modern style percussion clef
3083 @emph{Modern style} means ``as is typeset in current editions.''
3084 @emph{Historic style} means ``as was typeset or written in contemporary
3085 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3088 @cindex Vaticana, Editio
3089 @cindex Medicaea, Editio
3090 @cindex hufnagel clefs
3096 @section Figured bass
3098 @cindex Basso continuo
3100 TODO. see figured-bass.ly
3102 @c . {Tuning output}
3104 @section Tuning output
3106 LilyPond tries to take as much formatting as possible out of your
3107 hands. Nevertheless, there are situations where it needs some help, or
3108 where you want to override its decisions. In this section we discuss
3109 ways to do just that.
3111 Formatting is internally done by manipulating so called grobs (graphic
3112 objects). Each grob carries with it a set of properties (grob
3113 properties) specific to that object. For example, a stem grob has
3114 properties that specify its direction, length and thickness.
3116 The most direct way of tuning the output is by altering the values of
3117 these properties. There are two ways of doing that: first, you can
3118 temporarily change the definition of a certain type of grob, thus
3119 affecting a whole set of objects. Second, you can select one specific
3120 object, and set a grob property in that object.
3123 * Tuning groups of grobs ::
3124 * Tuning per grob ::
3132 @node Tuning groups of grobs
3133 @subsection Tuning groups of grobs
3135 @cindex grob description
3139 A grob definition is a Scheme association list, that is stored in a
3140 context property. By assigning to that property (using plain
3141 @code{\property}), you can change the resulting grobs.
3143 @lilypond[verbatim, fragment]
3144 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
3147 The @code{\property} assignment effectively empties the definition of
3148 the Stem object. One of the effects is that the recipe of how it should be
3149 printed is erased, with the effect of rendering it invisible. The above
3150 assignment is available as a standard identifier, for the case that you
3154 \property Voice.Stem = \turnOff
3161 This mechanism is fairly crude, since you can only set, but not modify,
3162 the definition of a grob. For this reason, there is a more advanced
3165 The definition of a grob is actually a list of default grob
3166 properties. For example, the definition of the Stem grob (available in
3167 @file{scm/grob-description.scm}), defines the following values for
3172 (beamed-lengths . (0.0 2.5 2.0 1.5))
3173 (Y-extent-callback . ,Stem::height)
3177 You can add a property on top of the existing definition, or remove a
3178 property, thus overriding the system defaults:
3180 c'4 \property Voice.Stem \override #'thickness = #4.0
3181 c'4 \property Voice.Stem \revert #'thickness
3184 You should balance @code{\override} and @code{\revert}. If that's too
3185 much work, you can use the @code{\set} shorthand. It performs a revert
3186 followed by an override. The following example gives exactly the same
3187 result as the previous one.
3189 c'4 \property Voice.Stem \set #'thickness = #4.0
3190 c'4 \property Voice.Stem \set #'thickness = #0.8
3193 If you use @code{\set}, you must explicitly restore the default.
3196 Formally the syntax for these constructions is
3198 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3199 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3200 \property @var{context}.@var{grobname} \revert @var{symbol}
3202 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3203 and @var{grobname} are strings and @var{value} is a Scheme expression.
3206 If you revert a setting which was not set in the first place, then it
3207 has no effect. However, if the setting was set as a system default, it
3208 may remove the default value, and this may give surprising results,
3209 including crashes. In other words, @code{\override} and @code{\revert},
3210 must be carefully balanced.
3212 These are examples of correct nesting of @code{\override}, @code{\set},
3215 A clumsy but correct form:
3217 \override \revert \override \revert \override \revert
3220 Shorter version of the same:
3222 \override \set \set \revert
3225 A short form, using only @code{\set}. This requires you to know the
3228 \set \set \set \set @var{to default value}
3231 If there is no default (i.e. by default, the grob property is unset),
3234 \set \set \set \revert
3237 For the digirati, the grob description is an Scheme association
3238 list. Since a Scheme list is a singly linked list, we can treat it as a
3239 stack, and @code{\override} and @code{\revert} are just push and pop
3240 operations. This pushing and popping is also used for overriding
3241 automatic beaming settings.
3245 LilyPond will hang or crash if @var{value} contains cyclic references.
3246 The backend is not very strict in type-checking grob properties. If you
3247 @code{\revert} properties that are expected to be set by default,
3251 @cindex adjusting staff symbol
3252 @cindex StaffSymbol, using \property
3253 @cindex staff lines, setting number of
3255 Some grobs are created at the moment that their context is created. An
3256 example of such a grob is the staff itself (i.e. the horizontal lines).
3257 You can not change the appearance of the staff symbol by manipulating
3258 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3259 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3260 created before any @code{\override} is effective. You can deal with this
3261 either overriding properties in a @code{\translator} definition, or by
3262 using @code{\outputproperty}.
3267 @node Tuning per grob
3268 @subsection Tuning per grob
3270 @cindex \outputproperty
3272 A second way of tuning grobs is the more arcane @code{\outputproperty}
3273 feature. The syntax is as follows:
3275 \outputproperty @var{predicate} @var{symbol} = @var{value}
3277 Here @code{predicate} is a Scheme function taking a grob argument, and
3278 returning a boolean. This statement is processed by the
3279 @code{Output_property_engraver}. It instructs the engraver to feed all
3280 grobs that it sees to @var{predicate}. Whenever the predicate returns
3281 true, the grob property @var{symbol} will be set to @var{value}.
3283 You will need to combine this statement with @code{\context} to select
3284 the appropriate context to apply this to.
3286 Here are some random examples.
3289 In the following example, all note heads occurring at current staff
3290 level, are shifted up and right by setting their @code{extra-offset}
3293 @lilypond[fragment,verbatim,singleline]
3295 \context Staff \outputproperty
3296 #(make-type-checker 'note-head-interface)
3297 #'extra-offset = #'(0.5 . 0.75)
3301 @cindex @code{extra-offset}
3303 In this example, the predicate checks the @code{text} grob property, to
3304 shift only the `m.d.' text, but not the fingering instruction "2".
3305 @lilypond[verbatim,singleline]
3306 #(define (make-text-checker text)
3307 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3310 \notes\relative c''' {
3311 \property Voice.Stem \set #'direction = #1
3312 \outputproperty #(make-text-checker "m.d.")
3313 #'extra-offset = #'(-3.5 . -4.5)
3321 If possible, avoid this feature: the semantics are not very clean, and
3322 the syntax and semantics are up for rewrite.
3328 @subsection What to tune?
3330 This all tells you how to tune grobs, but you don't know what variables
3331 to set? The question is not answered in this part of the manual
3332 (although you may encounter some examples.).
3334 Grob properties are tied directly to the implementation of LilyPond, and
3335 they are thus a moving target. Documentation of such variables is in the
3336 automatically generated documentation. Description of properties are
3337 generated from the source code for each version. This documentation is
3338 therefore more up to date. It should be available from the same place
3339 where you got this manual.
3341 To decide how to tune a grob, you need to find the following information
3344 which grob to modify
3346 which property to modify
3348 which context the grob comes from.
3351 Included with the automatically generated documentation is a master list
3352 of grobs. Selecting a grob will take you to an overview of the
3353 properties available for that grob.
3355 There is also a master list of contexts. Selecting one takes you to an
3356 overview of that context which lists which grob types are created there.
3359 @node Font selection
3360 @subsection Font selection
3362 Most graphics in LilyPond are composed of characters of fonts. You can
3363 alter the characteristics of the font by setting certain grob
3364 properties. The mechanism that is used for this resembles La@TeX{}'s New
3365 Font Selection Scheme. Within this scheme, a font is entirely
3366 characterized by its font name.
3368 For each grob that uses fonts (in other words, each grob that supports
3369 @code{font-interface}) a font-name must be selected before it can be
3370 printed. The font name is selected by looking at a number of grob
3375 A symbol indicating the general class of the typeface. Supported are
3376 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3377 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3378 signs) and @code{typewriter}
3381 A symbol indicating the shape of the font, there are typically several
3382 font shapes available for each font family. Choices are @code{italic},
3383 @code{caps} and @code{upright}
3386 A symbol indicating the series of the font. There are typically several
3387 font series for each font family and shape. Choices are @code{medium}
3390 @item font-relative-size
3391 A number indicating the size relative the standard size. For example,
3392 with 20pt staff height, relative size -1 corresponds to 16pt staff
3393 height, and relative size +1 corresponds to 23 pt staff height.
3395 @item font-design-size
3396 A number indicating the design size of the font.
3398 This is a feature of the Computer Modern Font: each point size has a
3399 slightly different design. Smaller design sizes are relatively wider,
3400 which enhances readability. Scalable type faces such TrueType and Adobe
3401 Type1 usually come as ``one design fits all sizes''.
3404 The name of the font, without the design size, e.g. @code{cmr},
3405 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3412 The font is selected by taking the first font that satisfies all
3413 qualifiers specified. You can override any of these fields through
3414 @code{\override} and @code{\revert}. The special value @code{*} matches
3415 any value for that qualifier.
3418 \property Lyrics.LyricText \override #'font-series = #'bold
3419 \property Lyrics.LyricText \override #'font-shape = #'*
3422 @cindex @code{font-style}
3424 There are also pre-cooked font selection qualifiers. These are selected
3425 through the grob property @code{font-style}. For example, the style
3426 @code{finger} selects family @code{number} and relative size @code{-3}.
3427 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3428 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3431 The style sheets and tables for selecting fonts are located in
3432 @file{scm/font.scm}. Refer to this file for more information.
3435 Setting @code{font-name} overrides all other qualifiers. The value for
3436 this property should be a string, the file name of the font. You may use
3437 this to use special fonts, which are not a part of the style sheet, or
3438 which have special encodings.
3440 The size of the font may be set with the grob property
3441 @code{font-magnification}. It is the size of font, relative to its
3442 standard size. For example, @code{1.0} is normal size.
3446 Relative size is not linked to any real size.
3448 There is no style sheet provided for other fonts besides the @TeX{}
3451 @cindex font selection
3452 @cindex font magnification
3453 @cindex @code{font-interface}
3457 @subsection Text markup
3461 LilyPond has an internal mechanism to typeset texts. You can
3462 form text markup expressions by composing scheme expressions
3463 in the following way.
3465 @lilypond[verbatim, singleline]
3470 c^#'(italic "italic")
3471 d_#'((bold italic) "ff")
3473 f_#'(lines "one" (bold "two"))
3474 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3478 Normally, the Scheme markup text is stored in the @code{text} property
3479 of a grob. Formally, it is defined as follows:
3482 text: string | (head? text+)
3483 head: markup | (markup+)
3484 markup-item: property | abbrev
3485 property: (@var{key} . @var{value})
3486 abbrev: @code{columns lines roman music bold italic named super sub}
3487 @code{overstrike text finger volta timesig mmrest mark script}
3488 @code{large Large dynamic}
3491 The markup is broken down and converted into a list of grob properties,
3492 which are prepended to the property list. The @var{key}-@var{value}
3493 pair is a grob property. A list of properties available is included in
3494 the generated documentation for @rint{Text_interface}.
3496 The following abbreviations are currently defined:
3499 horizontal mode: set all text on one line (default)
3501 vertical mode: set every text on a new line
3505 selects the Feta font (the standard font for music notation glyphs),
3506 and uses named lookup
3513 lookup by character name
3515 plain text lookup (by character value)
3521 the next text or character overstrikes this one
3523 select fingering number fontstyle
3525 select volta number fontstyle
3527 select time signature number fontstyle
3529 select multi measure rest number fontstyle
3531 select mark number fontstyle
3533 select scriptsize roman fontstyle
3535 select large roman fontstyle
3537 select Large roman fontstyle
3539 select dynamics fontstyle
3543 @cindex metronome mark
3545 One practical application of complicated markup is to fake a metronome
3549 #(define note '(columns
3550 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3551 #(define eight-note `(columns ,note ((kern . -0.1)
3552 (music ((raise . 3.5) "flags-u3")))))
3553 #(define dotted-eight-note
3554 `(columns ,eight-note (music "dots-dot")))
3557 \notes\relative c'' {
3558 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3564 TextScript \override #'font-shape = #'upright
3570 @node Invisible grobs
3571 @subsection Invisible grobs
3572 @cindex invisible grobs
3576 ben nog steeds niet kapot van de informatiedichtheid hier.
3582 You can imagine a number of situations where you would want to make
3583 certain grobs not show up in the output. There may be aesthetic
3584 reasons, to make the output resemble an (old) manuscript as close as
3585 possible, or to make lessons or exercises for students.
3587 Grobs can be made invisible in a number of ways:
3589 Here's an example with blanked-out notes and stems:
3590 @lilypond[singleline,verbatim]
3592 \property Voice.NoteHead \override
3594 \property Voice.Stem \override
3595 #'transparent = ##t }
3598 \property Voice.NoteHead \revert #'transparent
3599 \property Voice.Stem \revert #'transparent }
3602 \notes\relative c'' {
3604 a b c b \blanknotes c \unblanknotes d
3608 This method makes the grobs invisible but they still take the normal space.
3609 To remove all traces of the grob, you can redefine the function
3613 \notes\relative c'' {
3616 as bes c bes c d \break
3617 \property Staff.KeySignature \override #'molecule-callback = #'()
3620 \paper{linewidth=5.0\cm indent=0}
3624 A very rigorous way of removing grobs from the whole score is to remove
3625 the engraver that creates them. For example,
3627 @lilypond[singleline,verbatim]
3628 \score {\notes { c'4 d'8 e'8 g2 }
3629 \paper { \translator {
3631 \remove Stem_engraver
3637 @subsection Dirty tricks
3638 @cindex embedded tex
3640 It is possible to use @TeX{} commands in the strings, but this should be
3641 avoided because it makes it impossible for LilyPond to compute the
3642 exact length of the string, which may lead to collisions. Also, @TeX{}
3643 commands won't work with direct PostScript output (see @ref{PostScript
3646 @lilypond[fragment,relative,verbatim]
3647 a'^"3 $\\times$ \\`a deux"
3650 You can also use raw PostScript commands embedded in text scripts. This
3651 offers ultimate flexibility, but requires you to learn PostScript.
3652 Currently, embedded PostScript will @strong{not} work with direct
3653 PostScript output. Note that all dimensions that you use are in staff
3658 \notes \relative c'' {
3659 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3660 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3661 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3665 \paper { linewidth = 70*\staffspace }
3672 @section Page layout
3675 The page layout is the combined product of LilyPond formatting notation,
3676 and (La)@TeX{} putting the notation on a page, including page breaks.
3677 The part of LilyPond is documented here.
3691 @subsection Paper block
3694 The most important output definition is the @code{\paper} block, for
3695 music notation. The syntax is
3698 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3701 where each of the items is one of
3704 @item An assignment.
3706 @item A context definition. See @ref{Interpretation context} for
3707 more information on context definitions.
3709 @item \stylesheet declaration. Its syntax is
3711 \stylesheet @var{alist}
3714 See @file{scm/font.scm} for details of @var{alist}.
3715 @item an @code{\elementdescriptions} declaration.
3717 \elementdescriptions @var{alist}
3719 See @file{scm/grob-description.scm} for details of
3720 @var{alist}. This command is not user-serviceable.
3724 @c . {Paper variables}
3725 @node Paper variables
3726 @subsection Paper variables
3727 @cindex Paper variables
3729 The paper block has some variables you may want to use or change:
3732 @cindex @code{indent}
3734 The indentation of the first line of music.
3735 @cindex @code{staffspace}
3737 @item @code{staffspace}
3738 The distance between two staff lines, calculated from the center
3741 @cindex @code{linewidth}
3742 @item @code{linewidth}
3743 Sets the width of the lines.
3745 If set to a negative value, a single unjustified line is produced.
3746 @c rename to singleLinePaper ?
3747 The shorthand @code{\singleLine} defines a default paper block that
3748 produces a single line.
3750 @cindex @code{textheight}
3752 @item @code{textheight}
3753 Sets the total height of the music on each page. Only used by
3756 @cindex @code{interscoreline}
3758 @item @code{interscoreline}
3759 Sets the spacing between systems. The default is 16pt.
3761 @cindex @code{interscorelinefill}
3763 @item @code{interscorelinefill}
3764 If set to a positive number, the distance between the score
3765 lines will stretch in order to fill the full page. In that
3766 case @code{interscoreline} specifies the minimum spacing.
3771 @cindex @code{stafflinethickness}
3773 @item @code{stafflinethickness}
3774 Determines the thickness of staff lines, and also acts as a scaling
3775 parameter for other line thicknesses.
3778 You may enter these dimension using units (@code{cm}, @code{in},
3779 @code{mm}, @code{pt}), or relative to another dimension
3781 linewidth = 20.0 * \staffspace
3788 @subsection Font size
3789 @cindex font size, setting
3790 @cindex staff size, setting
3791 @cindex @code{paper} file
3793 The Feta font provides musical symbols at six different sizes. These
3794 fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
3795 point. The point size of a font is the height of the five lines in a
3796 staff when displayed in the font.
3798 Definitions for these sizes are the files @file{paperSZ.ly}, where
3799 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3800 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3801 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3802 @code{paperTwentysix} are defined respectively. The default
3803 @code{\paper} block is also set. These files should be imported at toplevel, i.e.
3805 \include "paper26.ly"
3809 The font definitions are generated using a Scheme function. For more
3810 details, see the file @file{scm/font.scm}.
3816 @subsection Paper size
3821 @cindex @code{papersize}
3823 To change the paper size, you must first set the
3824 @code{papersize} paper variable variable. Set it to
3825 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3826 specification, you must set the font as described above. If you want
3827 the default font, then use the 20 point font.
3830 \paper@{ papersize = "a4" @}
3831 \include "paper16.ly"
3834 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3835 will set the paper variables @code{hsize} and @code{vsize} (used by
3836 Lilypond and @code{ly2dvi})
3840 @subsection Line break
3843 @cindex breaking lines
3845 Line breaks are normally computed automatically. They are chosen such
3846 that it looks neither cramped nor loose, and that consecutive lines have
3849 Occasionally you might want to override the automatic breaks; you can do
3850 this by specifying @code{\break}. This will force a line break at this
3851 point. Do remember that line breaks can only occur at places where there
3852 are bar lines. If you want to have a line break where there is no
3853 bar line, you can force an invisible bar line by entering @code{\bar
3854 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3856 If you want linebreaks at regular intervals, you can use the following:
3859 < \repeat 7 unfold @{ s1 * 4 \break @}
3863 This makes the following 28 measures (assuming 4/4 time) be broken every
3867 @cindex @code{\penalty}
3869 The @code{\break} and @code{\noBreak} commands are defined in terms of
3870 the penalty command:
3875 This encourages or discourages LilyPond to make a line break at this
3880 The scaling of the @code{\penalty} argument is not well-defined. The
3881 command is rather kludgey, and slated for rewriting.
3885 @subsection Page break
3888 @cindex breaking pages
3890 Page breaks are normally computed by @TeX{}, so they are not under
3891 direct control of LilyPond. However, you can insert a commands into the
3892 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3893 the command @code{\newpage}
3894 @cindex @code{\newpage}
3900 @c why do so difficult?
3901 @c maybe should explain contents of between-system.ly,
3902 @c but not now, we're talking about page breaks here.
3904 @c details, see the example file @file{input/test/between-systems.ly}
3907 @c . {Output scaling}
3908 @node Output scaling
3909 @subsection Output scaling
3924 There is no mechanism to select magnification of particular fonts,
3925 meaning that you don't have access to continuously scaled fonts.
3929 @c . {Output formats}
3930 @node Output formats
3931 @section Output formats
3933 LilyPond can output processed music in different output formats.
3937 * PostScript output::
3939 * ASCIIScript output::
3943 @subsection TeX output
3946 LilyPond will use @TeX{} by default. Even if you want to produce
3947 PostScript output for viewing or printing, you should normally have
3948 LilyPond produce @TeX{} first. The .tex output must be processed by
3949 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3950 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3951 used to generate the .dvi for you.
3955 Titling is not generated unless you use @file{ly2dvi}.
3958 @node PostScript output
3959 @subsection PostScript output
3960 @cindex PostScript output
3961 @cindex direct PostScript output
3963 LilyPond can produce PostScript directly, without going through @TeX{}.
3964 Currently, this is mainly useful if you cannot use TeX, because direct
3965 PostScript output has some problems; see Bugs below.
3968 $ lilypond -fps foo.ly
3969 GNU LilyPond 1.3.144
3970 Now processing: `foo.ly'
3972 Interpreting music...[3]
3973 Preprocessing elements...
3974 Calculating column positions...
3975 paper output to foo.ps...
3977 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3983 Text font selection is broken.
3985 The .ps file does not contain the .pfa font files. To print a .ps
3986 created through direct postscript output, you should prepend the
3987 necessary .pfa files to LilyPond's .ps output, or upload them to the
3988 printer before printing.
3990 The line height calculation is broken, you must set @var{lineheight} in
3991 the paperblock if you have more than one staff in your score, e.g.
3996 % Set line height to 40 staff spaces
4002 @subsection Scheme output
4003 @cindex Scheme output
4005 In the typesetting stage, LilyPond builds a page description, which is
4006 then written to disk in postscript, @TeX{} or ASCII art. Before it is
4007 written, the page description is represented as Scheme expressions. You
4008 can also dump these Scheme expressions to a file, which may be
4009 convenient for debugging output routines. This is done with the Scheme
4013 $ lilypond -fscm foo.ly
4014 GNU LilyPond 1.3.144
4015 Now processing: `foo.ly'
4017 Interpreting music...[3]
4018 Preprocessing elements...
4019 Calculating column positions...
4020 paper output to foo.scm...
4023 ;;; Usage: guile -s x.scm > x.tex
4024 (primitive-load-path 'standalone.scm)
4028 $ guile -s foo.scm > foo.tex
4032 @node ASCIIScript output
4033 @subsection ASCIIScript output
4034 @cindex ASCIIScript output
4035 @cindex ascii script
4038 LilyPond can output ASCII Art. This is a two step process, LilyPond
4039 produces an ASCII description file, dubbed ASCIIScript (extension
4040 @file{.as}). ASCIIScript has a small and simple command set that
4041 includes font selection, character and string printing and line drawing
4042 commands. The program @file{as2text} is used to translate an .as file
4045 To produce ASCII Art, you must include an ASCII Art paper definition
4046 file in your .ly, one of:
4048 \include "paper-as5.ly"
4049 \include "paper-as9.ly"
4052 Here's an example use for ASCII Art output (the example file
4053 @file{as-email.ly} is included in the LilyPond distribution), the staff
4054 symbol has been made invisible:
4057 $ lilypond -fas as-email.ly
4058 GNU LilyPond 1.3.144
4059 Now processing: `as-email.ly'
4061 Interpreting music...[3]
4062 Preprocessing elements...
4063 Calculating column positions... [2]
4064 paper output to as-email.as...
4066 $ as2text as-email.as 2>/dev/null
4068 |/ |##|##| | | | | |
4069 /| | | | | |\ |\ |\ |\ |\ |
4070 / |_ 3 | | | | 5 | )| )| )| )| )|
4071 | /| \ 8 * * * | 8 * * * * * |
4081 The ASCII Art fonts are far from complete and not very well designed.
4082 It's easy to change the glyphs, though; if you think you can do better,
4083 have a look at @file{mf/*.af}.
4085 Lots of resizable symbols such as slurs, ties and tuplets are missing.
4087 The poor looks of most ASCII Art output and its limited general
4088 usefulness gives ASCII Art output a low priority; it may be
4089 dropped in future versions.
4096 LilyPond can produce MIDI output. The performance lacks lots of
4097 interesting effects, such as swing, articulation, slurring, etc., but it
4098 is good enough for proof-hearing the music you have entered. Ties,
4099 dynamics and tempo changes are interpreted.
4101 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4102 levels. Dynamic marks translate to a fixed fraction of the available
4103 MIDI volume range, crescendi and decrescendi make the the volume vary
4104 linearly between their two extremities. The fractions be adjusted by
4105 overriding the @code{absolute-volume-alist} defined in
4106 @file{scm/midi.scm}.
4108 For each type of musical instrument (that MIDI supports), a volume range
4109 can be defined. This gives you basic equalizer control, which can
4110 enhance the quality of the MIDI output remarkably. You can add
4111 instruments and ranges or change the default settings by overriding the
4112 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4114 Both loudness controls are combined to produce the final MIDI volume.
4119 It is currently not possible to use the percussion channel (generally
4120 channel 10 of a MIDI file).
4124 * MIDI instrument names::
4129 @subsection MIDI block
4133 The MIDI block is analogous to the paper block, but it is somewhat
4134 simpler. The @code{\midi} block can contain:
4138 @item a @code{\tempo} definition
4139 @item context definitions
4142 Assignments in the @code{\midi} block are not allowed.
4146 @cindex context definition
4148 Context definitions follow precisely the same syntax as within the
4149 \paper block. Translation modules for sound are called performers.
4150 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4153 @node MIDI instrument names
4154 @subsection MIDI instrument names
4156 @cindex instrument names
4157 @cindex @code{Staff.midiInstrument}
4158 @cindex @code{Staff.instrument}
4160 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4161 property or, if that property is not set, the @code{Staff.instrument}
4162 property. The instrument name should be chosen from the list in
4163 @ref{MIDI instruments}.
4167 If the selected string does not exactly match, then LilyPond uses the
4168 default (Grand Piano). It is not possible to select an instrument by
4178 @c FIXME: Note entry vs Music entry at top level menu is confusing.
4181 @section Music entry
4189 When entering music with LilyPond, it is easy to introduce errors. This
4190 section deals with tricks and features that help you enter music, and
4191 find and correct mistakes.
4195 @subsection Relative
4197 @cindex relative octave specification
4199 Octaves are specified by adding @code{'} and @code{,} to pitch names.
4200 When you copy existing music, it is easy to accidentally put a pitch in
4201 the wrong octave and hard to find such an error. To prevent these
4202 errors, LilyPond features octave entry.
4204 @cindex @code{\relative}
4206 \relative @var{startpitch} @var{musicexpr}
4209 The octave of notes that appear in @var{musicexpr} are calculated as
4210 follows: If no octave changing marks are used, the basic interval
4211 between this and the last note is always taken to be a fourth or less
4212 (This distance is determined without regarding alterations; a
4213 @code{fisis} following a @code{ceses} will be put above the
4216 The octave changing marks @code{'} and @code{,} can be added to raise or
4217 lower the pitch by an extra octave. Upon entering relative mode, an
4218 absolute starting pitch must be specified that will act as the
4219 predecessor of the first note of @var{musicexpr}.
4221 Entering music that changes octave frequently is easy in relative mode.
4222 @lilypond[fragment,singleline,verbatim,center]
4228 And octave changing marks are used for intervals greater than a fourth.
4229 @lilypond[fragment,verbatim,center]
4231 c g c f, c' a, e'' }
4234 If the preceding item is a chord, the first note of the chord is used
4235 to determine the first note of the next chord. However, other notes
4236 within the second chord are determined by looking at the immediately
4239 @lilypond[fragment,verbatim,center]
4246 @cindex @code{\notes}
4248 The pitch after the @code{\relative} contains a note name. To parse
4249 the pitch as a note name, you have to be in note mode, so there must
4250 be a surrounding @code{\notes} keyword (which is not
4253 The relative conversion will not affect @code{\transpose},
4254 @code{\chords} or @code{\relative} sections in its argument. If you
4255 want to use relative within transposed music, you must place an
4256 additional @code{\relative} inside the @code{\transpose}.
4261 @subsection Bar check
4265 @cindex @code{barCheckNoSynchronize}
4269 Whenever a bar check is encountered during interpretation, a warning
4270 message is issued if it doesn't fall at a measure boundary. This can
4271 help you find errors in the input. Depending on the value of
4272 @code{barCheckNoSynchronize}, the beginning of the measure will be
4273 relocated, so this can also be used to shorten measures.
4275 A bar check is entered using the bar symbol, @code{|}:
4277 \time 3/4 c2 e4 | g2.
4282 @cindex skipTypesetting
4284 Failed bar checks are most often caused by entering incorrect
4285 durations. Incorrect durations often completely garble up the score,
4286 especially if it is polyphonic, so you should start correcting the score
4287 by scanning for failed bar checks and incorrect durations. To speed up
4288 this process, you can use @code{skipTypesetting} (See @ref{Skipping
4289 corrected music})). Bar
4292 @c . {Point and click}
4293 @node Point and click
4294 @subsection Point and click
4296 Point and click lets you find notes in the input by clicking on them in
4297 the Xdvi window. This makes it very easy to find input that causes some
4298 error in the sheet music.
4300 To use it, you need the following software
4302 @unnumberedsubsec Installation
4306 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
4307 Xdvi} version 22.36 or newer.
4309 Note that most @TeX{} distributions ship with xdvik, which is a
4310 different and less well maintained program. To find out which xdvi you
4311 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
4315 Xdvi must be configured to find the TeX fonts and music
4316 fonts. Refer to the Xdvi documentation for more information.
4319 @unnumberedsubsec Using it
4321 Add one of these lines to the top of your .ly file. The first one is for
4322 line location only. The second one is more convenient, but requires
4323 patching @code{emacsclient} and @code{server.el}.
4326 #(set! point-and-click line-location)
4329 In the emacs startup file (usually @file{~/.emacs}), add the following
4334 Make sure that the environment variable @code{XEDITOR} is set
4337 emacsclient --no-wait +%l %f
4339 The second one, that also specifies the column, only works if you have
4340 patched your emacsclient and server, and have compiled your @code{.ly}
4341 file using the @code{line-column-location} setting.
4343 When viewing, control-mousebutton 1 will take you to the originating
4344 spot in the @file{.ly} file. Control-mousebutton 2 will show all
4348 @unnumberedsubsec Column location
4350 If you want emacs to jump to the exact spot (and not just the line) on a
4351 click, you must enable column positioning. To do so, you need to patch
4352 emacsclient. Apply @file{emacsclient.patch} (included with the source
4353 package) to @file{emacsclient.c} and @file{server.el} from the emacs
4354 source code. Recompile and stick the recompiled emacsclient into a bin
4355 directory, and put @file{server.el} into a elisp directory
4356 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
4357 init file, before invoking server-start.
4360 (setq load-path (cons "~/usr/share/emacs" load-path))
4363 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
4365 At the top of the @code{ly} file, replace the @code{set!} line with the
4368 #(set! point-and-click line-column-location)
4371 One final hint: if you correct large files with point-and-click, then
4372 start correcting at the end of the file. When you start at the top, and
4373 insert one line, all subsequent locations will be off by a line.
4378 When you convert the @TeX{} file to PostScript using @code{dvips}, it
4379 will complain about not finding @code{src:X:Y} files. Those complaints
4380 are harmless, and can be ignored.
4382 @node Skipping corrected music
4383 @section Skipping corrected music
4385 The property @code{Score.skipTypesetting} can be used to switch on and
4386 off typesetting completely during the interpretation phase. When
4387 typesetting is switched off, the music is processed much more quickly.
4388 You can use this to skip over the parts of a score that you have already
4391 @lilypond[fragment,singleline,verbatim]
4392 \relative c'' { c8 d
4393 \property Score.skipTypesetting = ##t
4395 \property Score.skipTypesetting = ##f
4400 @node Interpretation context
4401 @section Interpretation context
4404 * Creating contexts::
4405 * Default contexts::
4406 * Context properties::
4407 * Engravers and performers::
4408 * Changing context definitions::
4409 * Defining new contexts::
4413 Interpretation contexts are objects that only exist during a run of
4414 LilyPond. During the interpretation phase of LilyPond (when it prints
4415 "interpreting music"), the music expression in a @code{\score} block is
4416 interpreted in time order. This is the same order that humans hear and
4419 During this interpretation, the interpretation context holds the
4420 state for the current point within the music. It contains information
4424 @item What notes are playing at this point?
4425 @item What symbols will be printed at this point?
4426 @item What is the current key signature, time signature, point within
4430 Contexts are grouped hierarchically: A @internalsref{Voice} context is
4431 contained in a @internalsref{Staff} context (because a staff can contain
4432 multiple voices at any point), a @internalsref{Staff} context is contained in
4433 @internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
4435 Contexts associated with sheet music output are called @emph{notation
4436 contexts}, those for sound output are called @emph{performance
4437 contexts}. The default definitions of the standard notation and
4438 performance contexts can be found in @file{ly/engraver-init.ly} and
4439 @file{ly/performer-init.ly}, respectively.
4441 @node Creating contexts
4442 @subsection Creating contexts
4444 @cindex @code{\context}
4445 @cindex context selection
4447 Contexts for a music expression can be selected manually, using the
4448 following music expression.
4451 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4454 This instructs lilypond to interpret @var{musicexpr} within the context
4455 of type @var{contexttype} and with name @var{contextname}. If this
4456 context does not exist, it will be created.
4458 @lilypond[verbatim,singleline]
4460 \notes \relative c'' {
4461 c4 <d4 \context Staff = "another" e4> f
4467 In this example, the @code{c} and @code{d} are printed on the
4468 default staff. For the @code{e}, a context Staff called
4469 @code{another} is specified; since that does not exist, a new
4470 context is created. Within @code{another}, a (default) Voice context
4471 is created for the @code{e4}. When all music referring to a
4472 context is finished, the context is ended as well. So after the
4473 third quarter, @code{another} is removed.
4477 @node Default contexts
4478 @subsection Default contexts
4480 Most music expressions don't need an explicit @code{\context}
4481 declaration: they inherit the
4482 notation context from their parent. Each note is a music expression, and
4483 as you can see in the following example, only the sequential music
4484 enclosing the three notes has an explicit context.
4486 @lilypond[verbatim,singleline]
4487 \score { \notes \context Voice = goUp { c'4 d' e' } }
4490 There are some quirks that you must keep in mind when dealing with
4493 First, every top level music is interpreted by the Score context, in other
4494 words, you may think of @code{\score} working like
4497 \context Score @var{music}
4501 Second, contexts are created automatically to be able to interpret the
4502 music expressions. Consider the following example.
4504 @lilypond[verbatim, singleline]
4505 \score { \context Score \notes { c'4 ( d' )e' } }
4508 The sequential music is interpreted by the Score context initially
4509 (notice that the @code{\context} specification is redundant), but when a
4510 note is encountered, contexts are setup to accept that note. In this
4511 case, a Thread, Voice and Staff are created. The rest of the sequential
4512 music is also interpreted with the same Thread, Voice and Staff context,
4513 putting the notes on the same staff, in the same voice.
4515 This is a convenient mechanism, but do not expect opening chords to work
4516 without @code{\context}. For every note, a separate staff is
4519 @cindex explicit context
4520 @cindex starting with chords
4521 @cindex chords, starting with
4523 @lilypond[verbatim, singleline]
4524 \score { \notes <c'4 es'> }
4527 Of course, if the chord is preceded by a normal note in sequential
4528 music, the chord will be interpreted by the Thread of the preceding
4530 @lilypond[verbatim,singleline]
4531 \score { \notes { c'4 <c'4 es'> } }
4536 @node Context properties
4537 @subsection Context properties
4539 Notation contexts have properties. These properties are from
4540 the @file{.ly} file using the following expression:
4541 @cindex @code{\property}
4543 \property @var{contextname}.@var{propname} = @var{value}
4546 Sets the @var{propname} property of the context @var{contextname} to the
4547 specified Scheme expression @var{value}. All @var{propname} and
4548 @var{contextname} are strings, which are typically unquoted.
4550 Properties that are set in one context are inherited by all of the
4551 contained contexts. This means that a property valid for the
4552 @internalsref{Voice} context can be set in the @internalsref{Score} context (for
4553 example) and thus take effect in all @internalsref{Voice} contexts.
4555 Properties can be unset using the following expression:
4557 \property @var{contextname}.@var{propname} \unset
4560 @cindex properties, unsetting
4561 @cindex @code{\unset}
4563 This removes the definition of @var{propname} in @var{contextname}. If
4564 @var{propname} was not defined in @var{contextname} (but was inherited
4565 from a higher context), then this has no effect.
4570 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4571 the inverse of @code{\property \set}.
4573 @node Engravers and performers
4574 @subsection Engravers and performers
4578 Basic building blocks of translation are called engravers; they are
4579 special C++ classes.
4583 @c . {Context definitions}
4584 @node Changing context definitions
4585 @subsection Changing context definitions
4587 @cindex context definition
4588 @cindex translator definition
4590 The most common way to define a context is by extending an existing
4591 context. You can change an existing context from the paper block, by
4592 first initializing a translator with an existing context identifier:
4596 @var{context-identifier}
4599 Then you can add and remove engravers using the following syntax:
4601 \remove @var{engravername}
4602 \consists @var{engravername}
4606 Here @var{engravername} is a string, the name of an engraver in the
4610 @lilypond[verbatim,singleline]
4614 \translator { \StaffContext
4615 \remove Clef_engraver
4621 You can also set properties in a translator definition. The syntax is as
4624 @var{propname} = @var{value}
4625 @var{propname} \set @var{grob-propname} = @var{pvalue}
4626 @var{propname} \override @var{grob-propname} = @var{pvalue}
4627 @var{propname} \revert @var{grob-propname}
4629 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4630 and @code{pvalue} are Scheme expressions. These type of property
4631 assignments happen before interpretation starts, so a @code{\property}
4632 command will override any predefined settings.
4635 To simplify editing translators, all standard contexts have standard
4636 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4637 @code{VoiceContext}, see @file{ly/engraver-init.ly}.
4639 @node Defining new contexts
4640 @subsection Defining new contexts
4642 If you want to build a context from scratch, you must also supply the
4643 following extra information:
4645 @item A name, specified by @code{\name @var{contextname}}.
4647 @item A cooperation module. This is specified by @code{\type
4654 \type "Engraver_group_engraver"
4657 \consists "Staff_symbol_engraver"
4658 \consists "Note_head_engraver"
4659 \consistsend "Axis_group_engraver"
4663 The argument of @code{\type} is the name for a special engraver that
4664 handles cooperation between simple engravers such as
4665 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4666 for this engraver are the following:
4668 @cindex @code{Engraver_group_engraver}
4669 @item @code{Engraver_group_engraver}
4670 The standard cooperation engraver.
4672 @cindex @code{Score_engraver}
4674 @item @code{Score_engraver}
4675 This is cooperation module that should be in the top level context,
4676 and only the top level context.
4678 @cindex @code{Grace_engraver_group}
4680 @item @code{Grace_engraver_group}
4681 This is a special cooperation module (resembling
4682 @code{Score_engraver}) that is used to create an embedded
4689 @item @code{\alias} @var{alternate-name}
4690 This specifies a different name. In the above example,
4691 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4693 @item @code{\consistsend} @var{engravername}
4694 Analogous to @code{\consists}, but makes sure that
4695 @var{engravername} is always added to the end of the list of
4698 Some engraver types need to be at the end of the list; this
4699 insures they stay there even if a user adds or removes engravers.
4700 End-users generally don't need this command.
4702 @item @code{\accepts} @var{contextname}
4703 Add @var{contextname} to the list of contexts this context can
4704 contain in the context hierarchy. The first listed context is the
4705 context to create by default.
4707 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4708 completeness, but is never used in practice.
4711 @item @code{\name} @var{contextname}
4712 This sets the type name of the context, e.g. @internalsref{Staff},
4713 @internalsref{Voice}. If the name is not specified, the translator won't do
4717 In the @code{\paper} block, it is also possible to define translator
4718 identifiers. Like other block identifiers, the identifier can only
4719 be used as the very first item of a translator. In order to define
4720 such an identifier outside of @code{\score}, you must do
4725 foo = \translator @{ @dots{} @}
4732 \translator @{ \foo @dots{} @}
4740 @cindex paper types, engravers, and pre-defined translators
4747 @c . {Syntactic details}
4748 @node Syntactic details
4749 @section Syntactic details
4750 @cindex Syntactic details
4752 This section describes details that were too boring to be put elsewhere.
4757 * Music expressions::
4758 * Manipulating music expressions::
4766 @subsection Top level
4769 This section describes what you may enter at top level.
4773 @subsubsection Score
4776 @cindex score definition
4778 The output is generated combining a music expression with an output
4779 definition. A score block has the following syntax:
4782 \score @{ @var{musicexpr} @var{outputdefs} @}
4785 @var{outputdefs} are zero or more output definitions. If none is
4786 supplied, the default @code{\paper} block will be added.
4790 @c . {Default output}
4791 @subsubsection Default output
4793 Default values for the @code{\paper} and @code{\midi} block are set by
4794 entering such a block at the top level.
4797 @subsubsection Header
4799 @cindex @code{\header}
4802 A header describes bibliographic information of the file's contents. It
4803 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4804 use this information for generating titles. Key values that are used by
4805 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4806 meter, arranger, piece and tagline.
4808 @cindex @code{ly2dvi}
4812 \header @{ @var{key1} = @var{val1}
4813 @var{key2} = @var{val2} @dots{} @}
4816 It is customary to put the @code{\header} at the top of the file.
4818 @subsubsection Default output
4820 A @code{\midi} or @code{\paper} block at top level sets the default
4821 paper block for all scores that lack an explicit paper block.
4825 @subsection Identifiers
4829 What has this section got to do with identifiers?
4830 It seems more appropriate in the introduction to Chapter 4,
4836 All of the information in a LilyPond input file, is internally
4837 represented as a Scheme value. In addition to normal Scheme data types
4838 (such as pair, number, boolean, etc.), LilyPond has a number of
4839 specialized data types,
4846 @item Translator_def
4850 @item Music_output_def
4851 @item Moment (rational number)
4854 LilyPond also includes some transient object types. Objects of these
4855 types are built during a LilyPond run, and do not `exist' per se within
4856 your input file. These objects are created as a result of your input
4857 file, so you can include commands in the input to manipulate them,
4858 during a lilypond run.
4861 @item Grob: short for Graphical object. See @ref{Grobs}.
4862 @item Molecule: device-independent page output object,
4863 including dimensions. Produced by some Grob functions
4865 @item Translator: object that produces audio objects or Grobs. This is
4866 not yet user accessible.
4867 @item Font_metric: object representing a font.
4871 @node Music expressions
4872 @subsection Music expressions
4874 @cindex music expressions
4876 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4877 syllables are music expressions, and you can combine music expressions
4878 to form new ones, for example by enclosing a list of expressions in
4879 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4880 compound expression is formed out of the quarter note @code{c} and a
4881 quarter note @code{d}:
4884 \sequential @{ c4 d4 @}
4887 @cindex Sequential music
4888 @cindex @code{\sequential}
4889 @cindex sequential music
4892 @cindex Simultaneous music
4893 @cindex @code{\simultaneous}
4895 The two basic compound music expressions are simultaneous and
4899 \sequential @code{@{} @var{musicexprlist} @code{@}}
4900 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4902 For both, there is a shorthand:
4904 @code{@{} @var{musicexprlist} @code{@}}
4908 @code{<} @var{musicexprlist} @code{>}
4910 for simultaneous music.
4911 In principle, the way in which you nest sequential and simultaneous to
4912 produce music is not relevant. In the following example, three chords
4913 are expressed in two different ways:
4915 @lilypond[fragment,verbatim,center]
4916 \notes \context Voice {
4917 <a c'> <b d' > <c' e'>
4918 < { a b c' } { c' d' e' } >
4923 Other compound music expressions include
4926 \transpose @var{pitch} @var{expr}
4927 \apply @var{func} @var{expr}
4928 \context @var{type} = @var{id} @var{expr}
4929 \times @var{fraction} @var{expr}
4933 @c . {Manipulating music expressions}
4934 @node Manipulating music expressions
4935 @subsection Manipulating music expressions
4937 The @code{\apply} mechanism gives you access to the internal
4938 representation of music. You can write Scheme-functions that operate
4939 directly on it. The syntax is
4941 \apply #@var{func} @var{music}
4943 This means that @var{func} is applied to @var{music}. The function
4944 @var{func} should return a music expression.
4946 This example replaces the text string of a script. It also shows a dump
4947 of the music it processes, which is useful if you want to know more
4948 about how music is stored.
4950 @lilypond[verbatim,singleline]
4951 #(define (testfunc x)
4952 (if (equal? (ly-get-mus-property x 'text) "foo")
4953 (ly-set-mus-property x 'text "bar"))
4955 (ly-set-mus-property x 'elements
4956 (map testfunc (ly-get-mus-property x 'elements)))
4961 \apply #testfunc { c'4_"foo" }
4965 For more information on what is possible, see the automatically
4966 generated documentation.
4969 Directly accessing internal representations is dangerous: the
4970 implementation is subject to changes, so you should avoid this feature
4973 A final example is a function that reverses a piece of music in time:
4975 @lilypond[verbatim,singleline]
4976 #(define (reverse-music music)
4977 (let* ((elements (ly-get-mus-property music 'elements))
4978 (reversed (reverse elements))
4979 (span-dir (ly-get-mus-property music 'span-direction)))
4980 (ly-set-mus-property music 'elements reversed)
4982 (ly-set-mus-property music 'span-direction (- span-dir)))
4983 (map reverse-music reversed)
4986 music = \notes { c'4 d'4( e'4 f'4 }
4988 \score { \context Voice {
4990 \apply #reverse-music \music
4995 More examples are given in the distributed example files in
4998 @c . {Span requests}
5004 @subsubsection Span requests
5005 @cindex Span requests
5007 Notational constructs that start and end on different notes can be
5008 entered using span requests. The syntax is as follows:
5012 \spanrequest @var{startstop} @var{type}
5016 @cindex @code{\start}
5017 @cindex @code{\stop}
5019 This defines a spanning request. The @var{startstop} parameter is either
5020 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
5021 describes what should be started. Much of the syntactic sugar is a
5022 shorthand for @code{\spanrequest}, for example,
5024 @lilypond[fragment,verbatim,center]
5025 c'4-\spanrequest \start "slur"
5026 c'4-\spanrequest \stop "slur"
5029 Among the supported types are @code{crescendo}, @code{decrescendo},
5030 @code{beam}, @code{slur}. This is an internal command. Users are
5031 encouraged to use the shorthands which are defined in the initialization
5032 file @file{spanners.ly}.
5037 @subsection Assignments
5040 Identifiers allow objects to be assigned to names during the parse
5041 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
5042 and to refer to an identifier, you precede its name with a backslash:
5043 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
5044 the input-types listed above. Identifier assignments can appear at top
5045 level in the LilyPond file, but also in @code{\paper} blocks.
5047 An identifier can be created with any string for its name, but you will
5048 only be able to refer to identifiers whose names begin with a letter,
5049 being entirely alphabetical. It is impossible to refer to an identifier
5050 whose name is the same as the name of a keyword.
5052 The right hand side of an identifier assignment is parsed completely
5053 before the assignment is done, so it is allowed to redefine an
5054 identifier in terms of its old value, e.g.
5060 When an identifier is referenced, the information it points to is
5061 copied. For this reason, an identifier reference must always be the
5062 first item in a block.
5066 \paperIdent % wrong and invalid
5070 \paperIdent % correct
5075 @c . {Lexical modes}
5077 @subsection Lexical modes
5078 @cindex Lexical modes
5081 @cindex @code{\notes}
5082 @cindex @code{\chords}
5083 @cindex @code{\lyrics}
5085 To simplify entering notes, lyrics, and chords, LilyPond has three
5086 special input modes in addition to the default mode: note, lyrics and
5087 chords mode. These input modes change the way that normal, unquoted
5088 words are interpreted: for example, the word @code{cis} may be
5089 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
5090 major triad respectively.
5092 A mode switch is entered as a compound music expression
5094 @code{\notes} @var{musicexpr}
5095 @code{\chords} @var{musicexpr}
5096 @code{\lyrics} @var{musicexpr}.
5099 In each of these cases, these expressions do not add anything to the
5100 meaning of their arguments. They just instruct the parser in what mode
5101 to parse their arguments. The modes are treated in more detail in
5102 @ref{Lyrics} and @ref{Chords}.
5104 Different input modes may be nested.
5108 @subsection Ambiguities
5113 The grammar contains a number of ambiguities. We hope to resolve them at
5117 @item The assignment
5122 is interpreted as the string identifier assignment. However,
5123 it can also be interpreted as making a string identifier @code{\foo}
5124 containing @code{"bar"}, or a music identifier @code{\foo}
5125 containing the syllable `bar'.
5127 @item If you do a nested repeat like
5139 then it is ambiguous to which @code{\repeat} the
5140 @code{\alternative} belongs. This is the classic if-then-else
5141 dilemma. It may be solved by using braces.
5143 @item The parser is not sophisticated enough to distinguish at the
5145 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
5152 @c . {Lexical details}
5153 @node Lexical details
5154 @section Lexical details
5156 Even more boring details, now on lexical side of the input parser.
5167 * Version information::
5172 @subsection Comments
5175 @cindex block comment
5176 @cindex line comment
5180 A one line comment is introduced by a @code{%} character.
5181 Block comments are started by @code{%@{} and ended by @code{%@}}.
5182 They cannot be nested.
5185 @subsection Direct Scheme
5189 @cindex Scheme, in-line code
5192 LilyPond contains a Scheme interpreter (the GUILE library) for
5193 internal use. In some places, Scheme expressions also form valid syntax:
5194 wherever it is allowed,
5198 evaluates the specified Scheme code. Example:
5200 \property Staff.TestObject \override #'foobar = #(+ 1 2)
5202 @code{\override} expects two Scheme expressions, so there are two Scheme
5203 expressions. The first one is a symbol (@code{foobar}), the second one
5204 an integer (namely, 3).
5206 In-line scheme may be used at the top level. In this case the result is
5209 Scheme is a full-blown programming language, and a full discussion is
5210 outside the scope of this document. Interested readers are referred to
5211 the website @uref{http://www.schemers.org/} for more information on
5216 @subsection Keywords
5220 Keywords start with a backslash, followed by a number of lower case
5221 alphabetic characters. These are all the keywords.
5224 apply arpeggio autochange spanrequest commandspanrequest
5225 simultaneous sequential accepts alternative bar breathe
5226 char chordmodifiers chords clef cm consists consistsend
5227 context denies duration dynamicscript elementdescriptions
5228 font grace header in lyrics key mark pitch
5229 time times midi mm name pitchnames notes outputproperty
5230 override set revert partial paper penalty property pt
5231 relative remove repeat addlyrics partcombine score
5232 script stylesheet skip textscript tempo translator
5237 @subsection Integers
5245 Formed from an optional minus sign followed by digits. Arithmetic
5246 operations cannot be done with integers, and integers cannot be mixed
5251 @cindex real numbers
5257 Formed from an optional minus sign and a sequence of digits followed
5258 by a @emph{required} decimal point and an optional exponent such as
5259 @code{-1.2e3}. Reals can be built up using the usual operations:
5260 `@code{+}', `@code{-}', `@code{*}', and
5261 `@code{/}', with parentheses for grouping.
5269 A real constant can be followed by one of the dimension keywords:
5270 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
5271 points, inches and centimeters, respectively. This converts the number
5272 a number that is the internal representation of that dimension.
5280 Begins and ends with the @code{"} character. To include a @code{"}
5281 character in a string write @code{\"}. Various other backslash
5282 sequences have special interpretations as in the C language. A string
5283 that contains no spaces can be written without the quotes. Strings can
5284 be concatenated with the @code{+} operator.
5288 @subsection Main input
5291 @cindex @code{\maininput}
5293 The @code{\maininput} command is used in init files to signal that the
5294 user file must be read. This command cannot be used in a user file.
5296 @node File inclusion
5297 @subsection File inclusion
5298 @cindex @code{\include}
5300 \include @var{filename}
5303 Include @var{filename}. The argument @var{filename} may be a quoted string (an
5304 unquoted string will not work here!) or a string identifier. The full
5305 filename including the @file{.ly} extension must be given,
5308 @node Version information
5309 @subsection Version information
5310 @cindex @code{\version}
5312 \version @var{string}
5315 Specify the version of LilyPond that a file was written for. The
5316 argument is a version string in quotes, for example @code{"1.2.0"}.
5317 This is used to detect invalid input, and to aid
5318 @code{convert-ly} a tool that automatically upgrades input files. See
5319 See @ref{convert-ly} for more information on @code{convert-ly}.
5327 @c broken with emacs-21
5328 @c {Local emac s vars}
5329 @c Local varia bles:
5331 @c minor-mod e: font-lock
5332 @c minor-mo de: outline
5333 @c outline -layout: (-1 : 0)
5334 @c outlin e-use-mode-specific-leader: "@c \."
5335 @c outli ne-primary-bullet: "{"
5336 @c outli ne-stylish-prefixes: nil
5337 @c outli ne-override-protect: t