4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
11 @unnumberedsubsec Bugs
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
21 This document describes GNU LilyPond and its input format. The last
22 revision of this document was for LilyPond 1.3.138.
44 * Interpretation context::
54 The purpose of LilyPond is explained informally by the term `music
55 typesetter'. This is not a fully correct name: not only does the
56 program print musical symbols, it also makes esthetic decisions.
57 Symbols and their placements are @emph{generated} from a high-level
58 musical description. In other words, LilyPond would be best described
59 by `music compiler' or `music to notation compiler'.
61 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
62 Scheme library provides the glue that holds together the low-level
63 routines and separate modules general, which are C++
65 When lilypond is run to typeset sheet music, the following happens:
67 @item GUILE Initialization: various scheme files are read
68 @item parsing: first standard @code{ly} initialization files are read, and
69 then the user @file{ly} file is read.
70 @item interpretation: the music in the file is processed ``in playing
71 order'', i.e. the order that you use to read sheet music, or the
72 order in which notes are played.
75 in this step, the results of the interpretation, a typesetting
76 specification, is solved.
78 @item the visible results ("virtual ink") is written to the output file.
81 During these stages different types of data play the the main role:
82 during parsing, @strong{Music} objects are created. During the
83 interpretation, @strong{context} is constructed, and with this context
84 af network of @strong{graphical objects} (``grobs'') is created. The
85 grobs contain unknown variables, and the network forms a set of
86 equations. After solving the equations and filling in these variables,
87 the printed output (in the form of @strong{molecules}) is written to an
90 These threemanship of tasks (parsing, translating, typesetting) and
91 data-structures (music, context, graphical objects) permeates the entire
92 design of the program. This manual is ordered in terms of user
93 tasks. With each concept will be explained to which of the three parts
102 The most basic forms of music are notes. We discuss how you enter them
103 here. Notes on their own don't form valid input, but for the sake of
104 brevity we omit obligotary lint such as @code{\score} blocks and
105 @code{\paper} declarations.
110 * Defining pitch names::
113 * Easy Notation note heads ::
126 @cindex Note specification
128 @cindex entering notes
130 The verbose syntax for pitch specification is
132 @cindex @code{\pitch}
134 \pitch @var{scmpitch}
137 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
139 In Note and Chord mode, pitches may be designated by names. The default
140 names are the Dutch note names. The notes are specified by the letters
141 @code{a} through @code{g} (where the octave is formed by notes ranging
142 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
143 middle C and the letters span the octave above that C.
145 @cindex note names, Dutch
147 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
148 name. A flat is formed by adding @code{-es}. Double sharps and double
149 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
150 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
151 both forms are accepted.
153 LilyPond has predefined sets of notenames for various other languages.
154 To use them, simply include the language specific init file. For
155 example: @code{\include "english.ly"}. The available language files and
156 the names they define are:
159 Note Names sharp flat
160 nederlands.ly c d e f g a bes b -is -es
161 english.ly c d e f g a bf b -s/-sharp -f/-flat
162 deutsch.ly c d e f g a b h -is -es
163 norsk.ly c d e f g a b h -iss/-is -ess/-es
164 svenska.ly c d e f g a b h -iss -ess
165 italiano.ly do re mi fa sol la sib si -d -b
166 catalan.ly do re mi fa sol la sib si -d/-s -b
174 The optional octave specification takes the form of a series of
175 single quote (`@code{'}') characters or a series of comma
176 (`@code{,}') characters. Each @code{'} raises the pitch by one
177 octave; each @code{,} lowers the pitch by an octave.
179 @lilypond[fragment,verbatim,center]
180 c' c'' es' g' as' gisis' ais'
183 @c . {Defining pitch names}
184 @node Defining pitch names
185 @subsection Defining pitch names
187 @cindex defining pitch names
188 @cindex pitch names, defining
190 Note names and chord modifiers can be customised for nationalities. The
191 syntax is as follows.
193 @cindex @code{\pitchnames}
194 @cindex @code{\chordmodifiers}
196 \pitchnames @var{scheme-alist}
197 \chordmodifiers @var{scheme-alist}
200 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
201 specific examples how to do this.
207 @subsection Durations
211 @cindex @code{\duration}
213 The syntax for a verbose duration specification is
215 \duration @var{scmduration}
217 Here, @var{scmduration} is a Scheme object of type Duration. See
218 @ref{Duration} for more information.
221 In Note, Chord, and Lyrics mode, durations may be designated by numbers
222 and dots: durations are entered as their reciprocal values. For notes
223 longer than a whole note, use identifiers.
229 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
231 r1 r2 r4 r8 r16 r32 r64 r64
237 \notes \relative c'' {
238 a\longa a\breve \autoBeamOff
239 a1 a2 a4 a8 a16 a32 a64 a64
241 r1 r2 r4 r8 r16 r32 r64 r64
246 \remove "Clef_engraver";
247 \remove "Staff_symbol_engraver";
248 \remove "Time_signature_engraver";
249 \consists "Pitch_squash_engraver";
256 As you can see, the longa is not printed. To get a longa note head, you
257 have to use a mensural note heads. This is done accomplished by setting
258 the @code{style} property of the NoteHead grob to @code{mensural}.
260 If the duration is omitted then it is set to the previous duration
261 entered. At the start of parsing a quarter note is assumed. The
262 duration can be followed by a dot (`@code{.}') to obtain dotted note
266 @lilypond[fragment,verbatim,center]
272 You can alter the length of duration by appending
273 `@code{*}@var{fraction}'. This will not affect the appearance of the
274 notes or rests produced.
280 A note specification has the form
283 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
286 LilyPond will determine what accidentals to typeset depending on the key
287 and context. The alteration refers to what note is heard, not to whether
288 an accidental is printed. A reminder accidental
289 @cindex reminder accidental
291 can be forced by adding an exclamation mark @code{!} after the pitch. A
292 cautionary accidental,
293 @cindex cautionary accidental
294 i.e., an accidental within parentheses can be obtained by adding the
295 question mark `@code{?}' after the pitch.
297 @lilypond[fragment,verbatim,center]
298 cis' d' e' cis' c'? d' e' c'!
302 @node Easy Notation note heads
303 @subsection Easy Notation note heads
305 @cindex easy notation
308 A entirely different type of note head is the "easyplay" note head: a
309 note head that includes a note name. It is used in some publications by
310 Hal-Leonard Inc. music publishers.
312 @lilypond[singleline,verbatim]
313 \include "paper26.ly"
315 \notes { c'2 e'4 f' | g'1 }
316 \paper { \translator { \EasyNotation } }
320 Note that @code{EasyNotation} overrides a @code{Score} context. You
321 probably will want to print it with magnification to make it better
327 If you view the result with Xdvi, then staff lines will show through the
328 letters. Printing the postscript file obtained either by using dvips or
329 the @code{-f ps} option of lilypond will produce the desired result.
339 A tie connects two adjacent note heads of the same pitch. When used
340 with chords, it connects all of the note heads whose pitches match.
341 Ties are indicated using the tilde symbol `@code{~}'.
342 If you try to tie together chords which have no common pitches, a
343 warning message will appear and no ties will be created.
345 @lilypond[fragment,verbatim,center]
346 e' ~ e' <c' e' g'> ~ <c' e' g'>
349 If you dislike the amount of ties created for a chord, you set
350 @code{Voice.sparseTies} to true, resulting in a smaller number of
352 @lilypond[fragment,verbatim,center]
353 \property Voice.sparseTies = ##t
354 <c' e' g'> ~ <c' e' g'>
357 In its meaning a tie is just a way of extending a note duration, similar
358 to the augmentation dot: the following example are three ways of notating
359 exactly the same concept.
360 @lilypond[fragment, singleline]
366 At present, the tie is implemented as a separate thing, temporally
367 located in between the notes. There is also no way to convert
368 between tied notes, dotted notes and plain notes.
370 Tieing only a subset of the note heads of a chord is not supported in a
371 simple way. It can be achieved by moving the tie-engraver into Thread
372 context and turning off ties per Thread.
380 @cindex @code{\times}
382 Tuplets are made out of a music expression by multiplying their duration
385 @cindex @code{\times}
387 \times @var{fraction} @var{musicexpr}
390 The duration of @var{musicexpr} will be multiplied by the fraction.
391 In print, the fraction's denominator will be printed over the notes,
392 optionally with a bracket. The most common tuplet is the triplet in
393 which 3 notes have the length of 2, so the notes are 2/3 of
394 their written length:
396 @lilypond[fragment,verbatim,center]
397 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
400 The property @code{tupletSpannerDuration} specifies how long brackets
401 should last. With this, you can make lots of tuplets while typing
402 @code{\times} only once. This saves typing work when you must make lots
405 @lilypond[fragment, relative, singleline, verbatim]
406 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
407 \times 2/3 { c''8 c c c c c }
415 Rests are entered like notes, with note name `@code{r}'.
425 \skip @var{duration} @code{;}
430 Skips the amount of time specified by @var{duration}. If no other music
431 is played, a gap will be left for the skipped time with no notes
432 printed. The short hand is only available in Note and Chord mode.
437 @subsection Note mode
442 @cindex @code{\notes}
444 Note mode is the lexical mode generally used for inputting notes. The
450 This instructs the tokenizer to interpret @var{expr} in note mode. If a
451 a sequence of alfabetical characters, like @code{foobar}, LilyPond first
452 checks if @code{foobar} is a pitch name. If it is not a pitch name,
453 then it is treated as a string.
455 Numbers and dots indicate durations, so you can enter floating point
456 numbers in this mode.
460 @section Staff notation
462 @cindex Staff notation
474 @subsection Key signature
479 Changing the key signature is done with the @code{\key} command.
481 @code{\key} @var{pitch} @var{type} @code{;}
484 @cindex @code{\minor}
485 @cindex @code{\major}
486 @cindex @code{\minor}
487 @cindex @code{\ionian}
488 @cindex @code{\locrian}
489 @cindex @code{\aeolian}
490 @cindex @code{\mixolydian}
491 @cindex @code{\lydian}
492 @cindex @code{\phrygian}
493 @cindex @code{\dorian}
495 Here, @var{type} should be @code{\major} or @code{\minor} to get
496 @var{pitch}-major or @var{pitch}-minor, respectively. The second
497 argument is optional; the default is major keys. The @var{\context}
498 argument can also be given as an integer, which tells the number of
499 semitones that should be added to the pitch given in the subsequent
500 @code{\key} commands to get the corresponding major key, e.g.,
501 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
502 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
503 @code{\phrygian}, and @code{\dorian} are also defined.
505 This command sets context property @code{Staff.keySignature}.
507 @cindex @code{keySignature}
514 \clef @var{clefname} @code{;}
520 \property Staff.clefGlyph = @var{glyph associated with clefname}
521 \property Staff.clefPosition = @var{clef Y-position for clefname}
522 \property Staff.clefOctavation = @var{extra pitch of clefname}
525 Supported clef-names include
528 @item treble, violin, G, G2: G clef on 2nd line
529 @item french: G clef on 1st line
530 @item soprano: C clef on 1st line
531 @item mezzosoprano: C clef on 2nd line
532 @item alto: C clef on 3rd line
533 @item tenor: C clef on 4th line
534 @item baritone: C clef on 5th line
535 @item varbaritone: F clef on 3rd line
536 @item bass, F: F clef on 4th line
537 @item subbass: F clef on 5th line
538 @item percussion: percussion clef
541 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
544 @item clefs-C: modern style C clef
545 @item clefs-F: modern style F clef
546 @item clefs-G: modern style G clef
547 @item clefs-vaticana_do: Editio Vaticana style do clef
548 @item clefs-vaticana_fa: Editio Vaticana style fa clef
549 @item clefs-medicaea_do: Editio Medicaea style do clef
550 @item clefs-medicaea_fa: Editio Medicaea style fa clef
551 @item clefs-mensural1_c: modern style mensural C clef
552 @item clefs-mensural2_c: historic style small mensural C clef
553 @item clefs-mensural3_c: historic style big mensural C clef
554 @item clefs-mensural1_f: historic style traditional mensural F clef
555 @item clefs-mensural2_f: historic style new mensural F clef
556 @item clefs-mensural_g: historic style mensural G clef
557 @item clefs-hufnagel_do: historic style hufnagel do clef
558 @item clefs-hufnagel_fa: historic style hufnagel fa clef
559 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
560 @item clefs-percussion: modern style percussion clef
563 @emph{Modern style} means ``as is typeset in current editions.''
564 @emph{Historic style} means ``as was typeset or written in contemporary
565 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
568 @cindex Vaticana, Editio
569 @cindex Medicaea, Editio
570 @cindex hufnagel clefs
573 @c . {Time signature}
575 @subsection Time signature
576 @cindex Time signature
580 The time signature is changed by the @code{\time} command. Syntax:
582 \time @var{numerator}@code{/}@var{denominator} @code{;}
584 Internally, this is a shortcut for doing
586 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
589 [TODO: discuss options for layout]
596 @cindex partial measure
597 @cindex measure, partial
598 @cindex shorten measures
599 @cindex @code{\partial}
601 Partial measures are entered using the @code{\partial} command:
603 \partial @var{duration} @code{;}
606 Internally, this is a shortcut for
609 \property Score.measurePosition = -@var{length of duration}
614 @node Unmetered music
615 @subsection Unmetered music
617 Bar lines and bar numbers are calculated automatically. For unmetered
618 music (e.g. cadenzas), this is not desirable. The property
619 @code{Score.timing} can be used to switch off this automatic timing
621 @lilypond[fragment,relative,singleline,verbatim]
623 \property Score.timing = ##f
625 \property Score.timing = ##t
629 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
630 achieve the same effect.
636 @subsection Bar lines
640 @cindex measure lines
647 This is a shortcut for doing
649 \property Score.whichBar = @var{bartype}
652 You are encouraged to use @code{\repeat} for repetitions. See
653 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
657 @cindex Bar_line_engraver
659 @cindex repeatCommands
660 @cindex defaultBarType
662 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
663 @code{whichBar} at every moment. Whenever it is set to a string, it will
664 create a bar with that type. @code{whichBar} is usually set
665 automatically: at the start of a measure it is set to
666 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
667 override default measure bars.
669 @code{whichBar} can also be set directly, using @code{\property} or
670 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
679 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
680 which contexts to instantiate. some small examples? ]
684 @cindex @code{\shiftOff}
685 @item @code{\shiftOff}
686 Disable horizontal shifting of note heads that collide.
688 @cindex @code{\shiftOn}
689 @item @code{\shiftOn}
690 Enable note heads that collide with other note heads to be
691 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
692 set different shift values.
694 @cindex @code{\stemBoth}
695 @item @code{\stemBoth}
696 Allow stems and beams to point either upwards or
697 downwards, decided automatically by LilyPond.
699 @cindex @code{\stemDown}
700 @item @code{\stemDown}
701 Force stems and beams to point down.
703 @cindex @code{\stemUp}
705 Force stems and beams to point up.
708 @cindex @code{\slurBoth}
709 @cindex @code{\slurDown}
710 @cindex @code{\slurUp}
711 Similarly, for slurs use
715 @cindex @code{\slurBoth}
716 @cindex @code{\slurDown}
717 @cindex @code{\slurUp}
723 @cindex @code{\voiceOne}
724 @cindex @code{\voiceTwo}
725 @cindex @code{\voiceThree}
726 @cindex @code{\voiceFour}
727 @cindex @code{\oneVoice}
728 @cindex @code{\shiftOn}
729 @cindex @code{\shiftOff}
731 If two voices sharing one staff have the same stem directions, their
732 note heads may collide. You can shift the note heads of one voice by
733 setting @code{\shiftOn}. This can be undone by setting
736 For simple polyphonic music, shorthands are available that combine
737 directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
738 @code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
744 Beams are used to group short notes into chunks that are aligned with
745 the metrum. LilyPond guesses where beams should be inserted, but if
746 you're not satisfied with the automatic beaming, you can either instruct
747 lilypond which patterns to beam automatically. In specific cases, you
748 can also specify explicitly what to beam and what not.
751 @c . {Automatic beams}
752 @subsection Automatic beams
754 @cindex @code{Voice.autoBeamSettings}
755 @cindex @code{(end * * * *)}
756 @cindex @code{(begin * * * *)}
758 A large number of Voice properties are used to decide how to generate
759 beams. Their default values appear in @file{scm/auto-beam.scm}.
761 By default, automatic beams can start on any note@footnote{In exotic
762 time signatures such as 1/8 and 1/16 this is not true} but can only end
763 in a few positions within the measure: they can end on a beat, or at
764 durations specified by the properties in
765 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
766 are defined in @file{scm/auto-beam.scm}.
768 The syntax for changing the value @code{autoBeamSettings} is set using
769 @code{\override} and unset using @code{\revert}:
771 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
772 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
774 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
775 whether the rule applies to begin or end-points. The quantity
776 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
777 designate all time signatures), @var{P}/@var{Q} refers to the length of
778 the beamed notes (@code{* *} designate notes of any length).
780 If you want automatic beams to end on every quarter note, you can
783 \property Voice.autoBeamSettings \override
784 #'(end * * * *) = #(make-moment 1 4)
786 The duration a quarter note is 1/4 of a whole note. It is entered as
787 @code{(make-moment 1 4)}.
789 The same syntax can be used to specify beam starting points. In this
790 example, you automatic beams can only end on a dotted quarter note.
792 \property Voice.autoBeamSettings \override
793 #'(begin * * * *) = #(make-moment 3 8)
795 In 4/4 time signature, this means that automatic beams could end only on
796 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
797 3/8 has passed within the measure).
799 You can also restrict rules to specific time signatures. A rule that
800 should only be applied in @var{N}/@var{M} time signature is formed by
801 replacing the first asterisks by @var{N} and @var{M}. For example, a
802 rule for 6/8 time exclusively looks like
804 \property Voice.autoBeamSettings \override
805 #'(begin 6 8 * *) = ...
808 If you want a rule to apply to certain types of beams, you can use the
809 second pair of asterisks. Beams are classified according to the shortest
810 note they contain. For a beam ending rule that only applies to beams
811 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
814 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
816 Automatic beams can not be put on the last note in a score.
818 @cindex automatic beam generation
820 @cindex @code{Voice.noAutoBeaming}
822 Automatic beaming is on by default, but it can switched off by setting
823 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
824 a melody that goes with lyrics.
827 @cindex Automatic beams
828 @subsection Manual beams
829 @cindex beams, manual
833 In some cases it may be necessary to override LilyPond's automatic
834 beaming algorithm. For example, the auto beamer will not beam over
835 rests or bar lines, so if you want that, specify the begin and end point
836 manually using @code{[} and @code{]}:
839 @lilypond[fragment,relative,verbatim]
841 r4 [r8 g'' a r8] r8 [g | a] r8
844 Whenever an manual beam is busy, the auto beam will not produce
847 @cindex @code{stemLeftBeamCount}
849 If you have specific wishes for the number of beams, you can fully
850 control the number of beams through the properties
851 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
853 @lilypond[fragment,relative,verbatim]
856 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
860 @cindex @code{stemRightBeamCount}
862 The beam symbol can be tweaked through @code{Voice.Beam}'s
863 grob-properties @code{height} and @code{staff-position},
866 Set @code{height} to zero, to get horizontal beams:
869 @lilypond[fragment,relative,verbatim]
870 \property Voice.Beam \set #'direction = #1
871 \property Voice.Beam \set #'height = #0
876 Here's how you'd specify a weird looking beam that instead of being
877 horizontal, falls two staff spaces:
880 @lilypond[fragment,relative,verbatim]
881 \property Voice.Beam \set #'staff-position = #2
882 \property Voice.Beam \set #'height = #-2
886 @cindex @code{default-neutral-direction}
888 @node Expressive marks
889 @section Expressive marks
904 A slur indicates that notes are to be played bound or @emph{legato}. In
905 lilypond, they are entered using parentheses:
906 @lilypond[fragment,verbatim,center]
907 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
911 Slurs avoid crossing stems, and are attached to note heads whenever
912 possible. In some instances involving beams slurs may be attached to a
913 stem end. If you want to override this layout you can do this through
914 @code{Voice.Slur}'s grob-property @code{attachment}:
916 Maybe reinclude other slur features and move back to tricks? Esp. the
917 second example, how to fix, can be very helpful.
920 @lilypond[fragment,relative,verbatim]
921 \property Voice.Slur \set #'direction = #1
922 \property Voice.Stem \set #'length = #5.5
924 \property Voice.Slur \set #'attachment = #'(stem . stem)
929 If a slur would strike through a stem or beam, the slur will be moved
930 away upward or downward. If this happens, attaching the slur to the
931 stems might look better:
934 @lilypond[fragment,relative,verbatim]
935 \property Voice.Stem \set #'direction = #1
936 \property Voice.Slur \set #'direction = #1
938 \property Voice.Slur \set #'attachment = #'(stem . stem)
944 Similarly, the curvature of a slur is adjusted to stay clear of note
945 heads and stems. When that would increase the curvature too much, the
946 slur is reverted to its default shape. The threshold for this decision
947 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
948 related to the enclosed area between the slur and the notes. Usually,
949 the default setting works well, but in some cases you may prefer a
950 curved slur when LilyPond decides for a vertically moved one. You can
951 express this by increasing the @code{beautiful} value:
953 @lilypond[verbatim,singleline,relative]
954 \property Voice.Beam \override #'direction = #-1
955 \property Voice.Slur \override #'direction = #1
956 c'16( a' f' a a f a, )c,
958 \property Voice.Slur \override #'beautiful = #5.0
964 The definition for @code{beautiful} is vague, the default setting is
965 experimental computer science.
967 @cindex Adusting slurs
970 @subsection Phrasing slur
972 @cindex phrasing slur
973 @cindex phrasing mark
975 A phrasing slur (or phrasing mark) connects chords and is used to
976 indicate a musical sentence. It is entered using @code{\(} and
979 @lilypond[fragment,verbatim,center,relative]
980 \time 6/4; c''\((d)e f(e)\)d
983 Typographically, the phrasing slur behaves almost exactly like a normal
984 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
987 @subsection Breath marks
989 Breath marks are entered using @code{\breathe}:
991 @lilypond[fragment,relative]
995 Currently, only tick marks are supported, comma style breath marks are
996 not. The grob for this object is called @code{Voice.BreathingSign}.
1001 Currently, only tick marks are supported, comma style breath marks are
1009 @cindex beats per minute
1010 @cindex metronome marking
1012 @cindex @code{\tempo}
1014 \tempo @var{duration} = @var{perminute} @code{;}
1017 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1018 output with 76 quarter notes per minute.
1022 The tempo setting is not printed, but is currently only used in the MIDI
1028 @subsection Text spanner
1029 @cindex Text spanner
1031 Some textual indications, e.g. rallentando, accelerando, often extend
1032 over a many measures. This is indicated by following the text with a
1033 dotted line. You can create such texts in LilyPond using
1034 text spanners. The syntax is as follows:
1036 \spanrequest \start "text"
1037 \spanrequest \stop "text"
1039 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1040 string to be printed, as well as the style is set through grob
1043 An application---or rather, a hack---is to fake octavation indications.
1044 @lilypond[fragment,relative,verbatim]
1045 \relative c' { a'''' b c a
1046 \property Voice.TextSpanner \set #'type = #'dotted-line
1047 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1048 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1049 \property Staff.centralCPosition = #-13
1050 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1066 @subsection Articulation
1067 @cindex Articulation
1069 @cindex articulations
1073 A variety of symbols can appear above and below notes to indicate
1074 different characteristics of the performance. These symbols can be
1075 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1076 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1077 forced to appear above or below the note by writing
1078 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1079 respectively. Here is a chart showing symbols above notes, with the
1080 name of the corresponding symbol appearing underneath.
1085 \property Score.LyricSyllable \override #'font-family =
1087 \property Score.LyricSyllable \override #'font-shape = #'upright
1088 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1089 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1090 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1091 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1092 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1093 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1094 c''-\thumb c''-\segno c''-\coda
1096 \context Lyrics \lyrics {
1097 accent__ marcato__ staccatissimo__ fermata
1098 stopped__ staccato__ tenuto__ upbow
1099 downbow__ lheel__ rheel__ ltoe
1100 rtoe__ turn__ open__ flageolet
1101 reverseturn__ trill__ prall__ mordent
1102 prallprall__ prallmordent__ uprall__ downprall
1103 thumb__ segno__ coda
1107 linewidth = 5.875\in;
1113 To save typing work, some shorthands are available:
1114 @lilypond[singleline]
1116 \notes \context Voice {
1117 \property Voice.TextScript \set #'font-family = #'typewriter
1118 \property Voice.TextScript \set #'font-shape = #'upright
1124 c''4-^_"c-\\^{ }" s4
1131 Fingering instructions can also be entered in this shorthand.
1132 @lilypond[verbatim, singleline, fragment]
1133 c'4-1 c'4-2 c'4-3 c'4-4
1137 @cindex @code{\script}
1146 Defines a script printing request. The argument is a string which
1147 points into the script-alias table defined in @file{scm/script.scm}.
1148 Usually the @code{\script} keyword is not used directly. Various
1149 helpful identifier definitions appear in @file{script.ly}.
1151 For information on how to add scripts, consult @file{scm/script.scm}.
1156 All of these note ornaments appear in the printed output but have no
1157 effect on the MIDI rendering of the music.
1159 Unfortunately, there is no support adding fingering instructions or
1160 ornaments to individual note heads. Some hacks exist, though. See
1161 @file{input/test/script-horizontal.ly}.
1166 @subsection Text scripts
1167 @cindex Text scripts
1169 In addition, it is possible to place arbitrary strings of text or markup
1170 text (see @ref{Text markup}) above or below notes by using a string:
1171 @code{c^"text"}. The text is typeset in italic by default.
1173 The amount of space taken by these indications by default does not
1174 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1175 take the widths into account. The identifier @code{\fattext} is defined
1176 in the standard includes.
1177 @lilypond[fragment,singleline,verbatim]
1178 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1181 Text scripts are created in form of @code{Voice.TextScript} grobs.
1183 For purposes of defining identifiers, a more verbose form also exists:
1186 \textscript @var{text}
1189 Defines a text to be printed over or under a note. @var{text} is a
1190 string or a markup text.
1194 foo = \textscript #'(finger "6")
1201 This is equivalent to @code{c4-6 c4-"foo"}.
1206 @subsection Grace notes
1215 @cindex @code{\grace}
1218 @cindex @code{graceAlignPosition}
1220 Grace notes are ornaments that are written out, but do not take up any
1221 logical time in a measure. LilyPond has limited support for grace notes.
1222 The syntax is as follows.
1224 \grace @var{musicexpr}
1227 When grace music is interpreted, a score-within-a-score is set up:
1228 @var{musicexpr} has its own time bookkeeping, and you could (for
1229 example) have a separate time signature within grace notes. While in
1230 this score-within-a-score, you can create notes, beams, slurs, etc.
1231 Unbeamed eighth notes and shorter by default have a slash through the
1232 stem. This behavior can be controlled with the
1233 @code{Stem}.@code{flag-style} property.
1236 @lilypond[fragment,verbatim]
1238 \grace c8 c4 \grace { [c16 c16] } c4
1239 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1246 At present, nesting @code{\grace} notes is not supported. The following
1247 may cause run-time errors:
1249 @code{\grace @{ \grace c32 c16 @} c4}
1251 Since the meaning of such a construct is unclear, we don't consider this
1252 a loss. Similarly, juxtaposing two @code{\grace} sections is
1253 syntactically valid, but makes no sense and may cause runtime errors.
1254 Ending a staff or score with grace notes may also generate a run-time
1255 error, since there will be no main note to attach the grace notes to.
1258 A grace note expression has duration 0; the next real note is assumed to
1259 be the main note. If you want the note to appear after the main note,
1260 set @code{Voice.graceAlignPosition} to @code{1}.
1264 The present implementation of grace notes is not robust and generally
1265 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1266 also be implemented.
1279 @subsubsection Glissando
1282 @cindex @code{\glissando}
1284 A glissando line can be requested by attaching a @code{\glissando} to a
1288 @lilypond[fragment,relative,verbatim]
1295 Printing of an additional text (such as @emph{gliss.}) must be done
1302 @subsubsection Dynamics
1315 @cindex @code{\ffff}
1325 Absolute dynamic marks are specified by using an identifier after a
1326 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1327 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1328 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1329 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1332 @cindex Crescendo and Decrescendo
1336 @cindex @code{\decr}
1337 @cindex @code{\rced}
1343 A crescendo mark is started with @code{\cr} and terminated with
1344 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1345 started with @code{\decr} and terminated with @code{\rced}. There are
1346 also shorthands for these marks. A crescendo can be started with
1347 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1348 can be terminated with @code{\!}. Note that @code{\!} must go before
1349 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1350 after the last note. Because these marks are bound to notes, if you
1351 want to get several marks during one note, you must use spacer notes.
1353 @lilypond[fragment,verbatim,center]
1354 c'' \< \! c'' d'' \decr e'' \rced
1355 < f''1 { s4 \< \! s2 \> \! s4 } >
1360 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1361 is an example how to do it:
1363 @lilypond[fragment,relative,verbatim]
1365 \property Voice.crescendoText = "cresc."
1366 \property Voice.crescendoSpanner = #'dashed-line
1382 @cindex @code{\repeat}
1384 To specify repeats, use the @code{\repeat} keyword. Since repeats
1385 should work differently when played or printed, there are a few
1386 different variants of repeats.
1390 Repeated music is fully written (played) out. Useful for MIDI
1394 This is the normal notation: Repeats are not written out, but
1395 alternative endings (voltas) are printed, left to right.
1398 Alternative endings are written stacked. Which is unfortunately not
1399 practical for anything right now.
1405 Make measure repeats. These look like percent signs.
1411 * Manual repeat commands::
1413 * Tremolo subdivision::
1418 @subsection Repeat syntax
1420 The syntax for repeats is
1423 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1426 If you have alternative endings, you may add
1427 @cindex @code{\alternative}
1429 \alternative @code{@{} @var{alternative1}
1431 @var{alternative3} @dots{} @code{@}}
1433 where each @var{alternative} is a music expression.
1435 Normal notation repeats are used like this:
1436 @lilypond[fragment,verbatim]
1438 \repeat volta 2 { c'4 d' e' f' }
1439 \repeat volta 2 { f' e' d' c' }
1442 With alternative endings:
1444 @lilypond[fragment,verbatim]
1446 \repeat volta 2 {c'4 d' e' f'}
1447 \alternative { {d'2 d'} {f' f} }
1451 Folded repeats look like this:@footnote{Folded repeats offer little
1452 more over simultaneous music. However, it is to be expected that
1453 more functionality -- especially for the MIDI backend -- will be
1454 implemented at some point in the future.}
1457 @lilypond[fragment,verbatim]
1459 \repeat fold 2 {c'4 d' e' f'}
1460 \alternative { {d'2 d'} {f' f} }
1466 If you don't give enough alternatives for all of the repeats, then
1467 the first alternative is assumed to be repeated often enough to equal
1468 the specified number of repeats.
1471 @lilypond[fragment,verbatim]
1475 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1476 \alternative { { g4 g g } { a | a a a a | b2. } }
1484 As you can see, LilyPond doesn't remember the timing information, nor
1485 are slurs or ties repeated, so you have to reset timing information
1486 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1487 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1490 It is possible to nest @code{\repeat}, although it probably is only
1491 meaningful for unfolded repeats.
1493 @node Manual repeat commands
1494 @subsection Manual repeat commands
1496 @cindex @code{repeatCommands}
1498 The property @code{repeatCommands} can be used to control the layout of
1499 repeats. Its value is a Scheme list of repeat commands, where each repeat
1507 @item (volta . @var{text})
1508 Print a volta bracket saying @var{text}.
1510 Stop a running volta bracket
1513 @lilypond[verbatim, fragment]
1515 \property Score.repeatCommands = #'((volta "93") end-repeat)
1517 \property Score.repeatCommands = #'((volta #f))
1522 @node Tremolo repeats
1523 @subsection Tremolo repeats
1524 @cindex tremolo beams
1526 To place tremolo marks between notes, use @code{\repeat} with tremolo
1528 @lilypond[verbatim,center,singleline]
1530 \context Voice \notes\relative c' {
1531 \repeat "tremolo" 8 { c16 d16 }
1532 \repeat "tremolo" 4 { c16 d16 }
1533 \repeat "tremolo" 2 { c16 d16 }
1534 \repeat "tremolo" 4 c16
1542 At present, the spacing between tremolo beams is not regular, since the
1543 spacing engine does not notice that not all notes are printed.
1545 @node Tremolo subdivision
1546 @subsection Tremolo subdivision
1547 @cindex tremolo marks
1548 @cindex @code{tremoloFlags}
1550 Tremolo marks can be printed on a single note by adding
1551 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1552 A @var{length} value of 8 gives one line across the note stem. If the
1553 length is omitted, then then the last value (stored in
1554 @code{Voice.tremoloFlags}) is used.
1556 @lilypond[verbatim,fragment,center]
1559 Using this mechanism pays off when you entering many tremolos, since the
1560 default argument saves a lot of typing.
1565 Tremolos in this style do not carry over into the MIDI output.
1568 @node Measure repeats
1569 @subsection Measure repeats
1571 @cindex percent repeats
1572 @cindex measure repeats
1574 In the @code{percent} style, a note pattern can be repeated. It is
1575 printed once, and then the pattern is replaced with a special sign.
1577 @lilypond[verbatim,singleline]
1578 \context Voice { \repeat "percent" 5 { c'1 } }
1581 At present, only repeats of whole measures are supported.
1583 @node Rhythmic music
1584 @section Rhythmic music
1591 @node Rhythmic staffs
1592 @subsection Rhythmic staffs
1594 Some times you might want to show only the rhythm of a melody. This can
1595 be done with the rhythmic staff. All pitches of notes on such a staff
1596 are squashed, and the staff itself looks has a single staff line:
1598 @lilypond[fragment,relative ]
1599 \context RhythmicStaff {
1601 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1608 @section Piano music
1610 Piano music is an odd type of notation: two staffs are largely
1611 independent, but sometimes voices can cross between the two staffs. The
1612 @code{PianoStaff} is especially built to handle this cross-staffing
1613 behavior. In this section we discuss the @code{PianoStaff} and some
1614 other pianistic peculiarities.
1617 * Automatic staff changes::
1618 * Manual staff switches::
1625 @c . {Automatic staff changes}
1626 @node Automatic staff changes
1627 @subsection Automatic staff changes
1628 @cindex Automatic staff changes
1630 Voices can be switched from top to bottom staff automatically. The
1633 \autochange @var{contexttype} @var{musicexp}
1635 This will switch notation context of @var{musicexp} between a
1636 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1637 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1638 of pitch (central C is the turning point), and it looks ahead skipping
1639 over rests to switch rests in advance.
1641 @lilypond[verbatim,singleline]
1642 \score { \notes \context PianoStaff <
1643 \context Staff = "up" {
1644 \autochange Staff \context Voice = VA < \relative c' {
1645 g4 a b c d r4 a g } > }
1646 \context Staff = "down" {
1652 Note how spacer rests are used to prevent the bottom staff from
1653 terminating too soon.
1656 @node Manual staff switches
1657 @subsection Manual staff switches
1659 @cindex manual staff switches
1660 @cindex staff switch, manual
1662 Voices can be switched between staffs manually, using the following command:
1664 \translator Staff = @var{which} @var{music}
1666 The string @var{which} is the name of the staff. Typically it is
1667 @code{"up"} or @code{"down"}.
1669 Formally, this construct is a music expression indicating that the
1670 context which is a direct child of the a context of type
1671 @var{contexttype} should be shifted to a context of type
1672 @var{contexttype} and the specified name.
1674 @cindex @code{\translator}
1676 \translator @var{contexttype} = @var{name}
1685 Piano pedal instruction can be expressed using
1686 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1687 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1689 These identifiers are short hands for spanner commands of the types
1690 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1692 @lilypond[fragment,verbatim]
1693 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1696 The symbols that are printed can be modified by setting
1697 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1698 types. Refer to the generated documentation for more information.
1703 Currently, brackets are not supported, only text markings (ie. *Ped
1709 @subsection Arpeggio
1712 @cindex broken arpeggio
1713 @cindex @code{\arpeggio}
1715 You can specify an arpeggio sign on a chord by attaching an
1716 @code{\arpeggio} to a note of the chord.
1720 @lilypond[fragment,relative,verbatim]
1721 \context Voice <c'\arpeggio e g c>
1725 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1726 to the chords in both staffs, and set
1727 @code{PianoStaff.connectArpeggios}.
1730 @lilypond[fragment,relative,verbatim]
1731 \context PianoStaff <
1732 \property PianoStaff.connectArpeggios = ##t
1733 \context Voice = one { <c''\arpeggio e g c> }
1734 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1739 This command creates @code{Arpeggio} grobs.
1743 It is not possible to mix
1744 connected arpeggios and unconnected arpeggios at the same time.
1747 @c . {VoiceFollower}
1749 @subsection VoiceFollower
1751 @cindex follow voice
1752 @cindex staff switching
1755 @cindex @code{followVoice}
1757 Whenever a voice switches to another staff a line connecting the notes
1758 can be printed automatically. This is enabled if the property
1759 @code{PianoStaff.followVoice} is set to true:
1762 @lilypond[fragment,relative,verbatim]
1763 \context PianoStaff <
1764 \property PianoStaff.followVoice = ##t
1765 \context Staff \context Voice {
1767 \translator Staff=two
1770 \context Staff=two {\clef bass; \skip 1*2;}
1784 * Automatic syllable durations::
1790 @subsection Lyrics mode
1793 To print lyrics in LilyPond, you must first make a music expression from
1794 the lyric text. When they're in a music expression, that music
1795 expression can be printed by selecting an appropriate context. We shall
1796 discuss lyric printing in this order.
1800 @cindex @code{\lyrics}
1802 You can enter lyrics in a special input mode of LilyPond. This mode is
1803 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1804 The purpose of this mode is that you can enter lyrics as plain text,
1805 punctuation and accents without any hassle.
1807 The precise definition of this mode is in @ref{Lyrics mode
1808 definition}. The definition itself is ludicrous, and this will remain so
1809 until the authors of LilyPond acquire a deeper understanding of
1810 character encoding, or someone else steps up to fix this.
1812 Syllables are entered like notes, with pitches replaced by text. For
1813 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1814 the hyphen has no special meaning for lyrics, and does not introduce
1817 Spaces can be introduced into a lyric either by using quotes
1818 (@code{"}) or by using an underscore without quotes: @code{He_could4
1819 not4}. All unquoted underscores are converted to spaces.
1821 @c . {Printing lyrics}
1822 @node Printing lyrics
1823 @subsection Printing lyrics
1826 Normally, you will want to have notes and syllables matched
1827 automatically. This is accomplished using @code{\addlyrics}, which is
1828 documented in @ref{Automatic syllable durations}. Setting
1829 @code{automaticMelismata} in the melody staff, will cause slurs to be
1830 interpreted as melismata. Lyric syllables must be interpreted within a
1831 @code{Lyrics} context in order to printing them.
1833 @lilypond[verbatim,singleline]
1834 \addlyrics \notes \relative c' {
1836 \property Staff.automaticMelismata = ##t
1839 \context Lyrics \lyrics {
1841 share the so -- ftware; }
1845 @cindex lyric extender
1848 As you can see, extender lines are entered as @code{__}. This will
1849 create an extender, a line that extends over the entire duration of the
1850 lyric. This line will run all the way to the start of the next lyric,
1851 so you may want to shorten it by using a blank lyric (using @code{_}).
1855 If you want to have hyphens centered between syllables (rather than
1856 attached to the end of the first syllable) you can use the special
1857 `@code{-}@code{-}' lyric as a separate word between syllables. This
1858 will result in a hyphen which length varies depending on the space
1859 between syllables, and which will be centered between the syllables.
1861 @cindex Lyric hyphen
1863 @node Automatic syllable durations
1864 @subsection Automatic syllable durations
1865 @cindex Automatic syllable durations
1867 @cindex automatic lyric durations
1868 @cindex @code{\addlyrics}
1870 If you have lyrics that are set to a melody, you can import the rhythm
1871 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1874 \addlyrics @var{musicexpr1 musicexpr2}
1877 This means that both @var{musicexpr1} and @var{musicexpr2} are
1878 interpreted, but that every non-command atomic music expression
1879 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1880 of @var{musicexpr1}.
1881 @cindex @code{automaticMelismata}
1883 If the property @code{automaticMelismata} is set in the
1884 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1887 @lilypond[verbatim,fragment]
1890 \property Voice.automaticMelismata = ##t
1891 c8 () cis d8. e16 f2
1893 \context Lyrics \lyrics {
1897 If you want the lyric lines to be above the melody staff, or in some
1898 other, more complex configuration, then build that configuration first
1899 using simultaneous music, and use @code{\addlyrics} after that.
1901 @lilypond[verbatim, singleline]
1903 \context Lyrics = LA { s1 }
1904 \context Staff = SA { s1 }
1906 \context Staff = SA \relative c' { c4 e g g }
1907 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1910 For @code{\addlyrics} you should use a single rhythm melody, and single
1911 rhythm lyrics (a constant duration is the obvious choice). If you do
1912 not, you can get undesired effects when using multiple stanzas:
1914 @lilypond[verbatim,fragment]
1917 c8 () cis d8. e16 f2
1919 \context Lyrics \lyrics
1924 It is valid (but probably not very useful) to use notes instead of
1925 lyrics for @var{musicexpr2}.
1928 @subsection More stanzas
1932 If you have multiple stanzas printed underneath each other, the separate
1933 syllables should be aligned around punctuation. LilyPond can do this if
1934 you explain it which lyric lines belong to which melody.
1936 To this end, give the Voice context an identity, and set the LyricsVoice
1937 to name starting with that identity. In the following example, the Voice
1938 identity is @code{duet}, and the identities of the LyricsVoices are
1939 @code{duet-1} and @code{duet-2}.
1942 @lilypond[singleline,verbatim]
1945 \notes \relative c'' \context Voice = duet { \time 3/4;
1947 \lyrics \context Lyrics <
1948 \context LyricsVoice = "duet-1" {
1949 \property LyricsVoice . stanza = "Bert"
1950 Hi, my name is bert. }
1951 \context LyricsVoice = "duet-2" {
1952 \property LyricsVoice . stanza = "Ernie"
1953 Ooooo, ch\'e -- ri, je t'aime. }
1958 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1959 first system) and @code{LyricsVoice.stz} for the following systems.
1961 @cindex stanza numbering
1969 LilyPond has support for both entering and printing chords. Chords are
1970 a harmonic device that is characterized by a set of pitches. It is
1971 something different from simultaneous music, although you can express a
1972 chord using simultaneous music. In fact, chords are internally stored as
1973 simultaneous music expressions. This means you can enter chords by name,
1974 and print them as note head, or enter as notes and print as chord names:
1977 @lilypond[verbatim,singleline]
1978 twoWays = \notes \transpose c'' {
1988 < \context ChordNames \twoWays
1989 \context Staff \twoWays > }
1992 Note that this example also shows that the LilyPond chord does not
1993 attempt to be intelligent, if you enter @code{f bes d}, it does no
1994 attempt to find out whether it this is an inversion.
1998 * Printing named chords::
2003 @subsection Chords mode
2006 Chord mode is a mode where you can input sets of pitches using common
2007 names. It is introduced by the keyword @code{\chords}. It is similar
2008 to note mode, but words are also looked up in a chord modifier table
2009 (containing @code{maj}, @code{dim}, etc).
2011 Dashes and carets are used to indicate chord additions and subtractions,
2012 so articulation scripts can not be entered in Chord mode.
2014 The syntax for named chords is as follows:
2017 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2020 @var{tonic} should be the tonic note of the chord, and @var{duration}
2021 is the chord duration in the usual notation. There are two kinds of
2022 modifiers. One type is @emph{chord additions}, which are obtained by
2023 listing intervals separated by dots. An interval is written by its
2024 number with an optional @code{+} or @code{-} to indicate raising or
2025 lowering by half a step. Chord additions has two effects: It adds
2026 the specified interval and all lower odd numbered intervals to the
2027 chord, and it may lower or raise the specified interval. Intervals
2028 must be separated by a dot (@code{.}).
2030 Throughout these examples, chords have been shifted around the staff
2031 using @code{\transpose}.
2036 @lilypond[fragment,verbatim]
2040 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2052 The second type of modifier that may appear after the @code{:} is a
2053 named modifier. Named modifiers are listed in the file
2054 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2055 @code{min} which lower the 3rd half a step, `@code{aug}' which
2056 raises the 5th, `@code{dim}' which lowers the 5th,
2057 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2058 which replaces the 5th with a 4th.
2062 @lilypond[fragment,verbatim]
2065 c1:m c:min7 c:maj c:aug c:dim c:sus
2073 Chord subtractions are used to eliminate notes from a chord. The
2074 notes to be subtracted are listed after a @code{^} character,
2077 @lilypond[fragment,verbatim,center]
2086 Chord inversions can be specified by appending `@code{/}' and the name
2087 of a single note to a chord. In a chord inversion, the inverted note is
2088 transposed down until it is the lowest note in the chord. If the
2089 specified note is not in the chord, a warning will be printed.
2091 @lilypond[fragment,verbatim,center]
2101 Bass notes can be added by `@code{/+}' and
2102 the name of a single note to a chord. This has the effect of
2103 adding the specified note to the chord, lowered by an octave,
2104 so it becomes the lowest note in the chord.
2106 @lilypond[fragment,verbatim,center]
2118 @c . {Printing named chords}
2119 @node Printing named chords
2120 @subsection Printing named chords
2122 @cindex printing chord names
2125 @cindex @code{ChordNames}
2128 For displaying printed chord names, use the @code{ChordNames} context.
2129 The chords may be entered either using the notation described above, or
2130 directly using simultaneous music.
2133 @lilypond[verbatim,singleline]
2135 \chords {a1 b c} <d f g> <e g b>
2139 \context ChordNames \scheme
2140 \context Staff \transpose c'' \scheme
2146 You can make the chord changes stand out by setting property
2147 @code{ChordNames.chordChanges} to true. This will only display chord
2148 names when there's a change in the chords scheme and at the start of the
2154 c1:m \break c:m c:m c:m d
2159 \context ChordNames {
2160 \property ChordNames.chordChanges = ##t
2162 \context Staff \transpose c'' \scheme
2167 LilyPond examines chords specified as lists of notes to determine a name
2168 to give the chord. LilyPond will not try to identify chord inversions or
2169 added base, which may result in strange chord names when chords are
2170 entered as a list of pitches:
2175 @lilypond[verbatim,center,singleline]
2184 \context ChordNamesVoice \scheme
2185 \context Staff \scheme
2192 By default LilyPond uses chord name system proposed by Harald Banter
2193 (See @ref{Literature}). The system is is unambiguous and has a logical
2194 structure. Typical American style chord names may be selected by
2195 setting the @code{style} property of the @code{ChordNames.ChordName}
2196 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2199 Routines that determine the names to be printed are written in Scheme,
2200 and may be customized by the user. The code can be found in
2201 @file{scm/chord-name.scm}.
2203 [3 short examples showing differences between american, banter and jazz]
2206 @section Writing parts
2208 Orchestral music involves some special notation, both in the full score,
2209 as in the individual parts. This section explains how to tackle common
2210 problems in orchestral music.
2217 * Instrument names::
2219 * Sound output for transposing instruments::
2220 * Multi measure rests::
2221 * Automatic part combining::
2222 * Hara-kiri staffs::
2225 @c . {Rehearsal marks}
2226 @node Rehearsal marks
2227 @subsection Rehearsal marks
2228 @cindex Rehearsal marks
2230 @cindex @code{\mark}
2231 @cindex @code{Mark_engraver}
2234 \mark @var{unsigned};
2239 With this command, you can print a rehearsal mark above the system. You
2240 can provide a number, a string or a markup text as argument. If there is
2241 no argument, the property @code{rehearsalMark} is used and automatically
2244 @lilypond[fragment,verbatim]
2250 c1 \mark #'(music "scripts-segno") ;
2256 @subsection Bar numbers
2258 Bar numbers are printed at the start of the line by default. This is
2259 done by the @code{Bar_number_engraver} in the Score context.
2263 It is currently not possible to make boxed bar numbers, or print them at
2267 @node Instrument names
2268 @subsection Instrument names
2270 You can specify an instrument name for a staff by setting
2271 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2272 before the start of the staff. For the first start, @code{instrument} is
2273 used, for the next ones @code{instr} is used.
2275 @lilypond[verbatim,singleline]
2277 \property Staff.instrument = "ploink " { c''4 } }
2279 \translator { \StaffContext
2280 \consists "Instrument_name_engraver"; } } }
2283 This requires that you add the @code{Instrument_name_engraver} to the
2288 @subsection Transpose
2290 @cindex transposition of pitches
2291 @cindex @code{\transpose}
2293 A music expression can be transposed with @code{\transpose}. The syntax
2296 \transpose @var{pitch} @var{musicexpr}
2299 This means that middle C in @var{musicexpr} is transposed to
2302 @code{\transpose} distinguishes between enharmonic pitches: both
2303 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2304 a tone. The first version will print sharps and the second version
2308 @lilypond[fragment,verbatim]
2311 { \key e \major; c d e f }
2313 \transpose des'' { \key e \major; c d e f }
2314 \transpose cis'' { \key e \major; c d e f }
2320 If you want to use both @code{\transpose} and @code{\relative}, then
2321 you must use @code{\transpose} first. @code{\relative} will have no
2322 effect music that appears inside a @code{\transpose}.
2324 @node Sound output for transposing instruments
2325 @subsection Sound output transposing instruments
2327 When you want to play a score containing transposed and untransposed
2328 instruments, you have to instruct LilyPond the pitch offset (in
2329 semitones) for the transposed instruments. This is done using the
2330 @code{transposing} property. It does not affect printed output.
2332 @cindex @code{transposing}
2335 \property Staff.instrument = #"Cl. in B-flat"
2336 \property Staff.transposing = #-2
2340 @c . {Multi measure rests}
2341 @node Multi measure rests
2342 @subsection Multi measure rests
2343 @cindex Multi measure rests
2347 Multi measure rests are entered using `@code{R}'. It is specifically
2348 meant for entering parts: the rest can expand to fill a score with
2349 rests, or it can be printed as a single multimeasure rest This expansion
2350 is controlled by the property @code{Score.skipBars}. If this is set to true,
2351 Lily will not expand empty measures, and the appropriate number is added
2354 @lilypond[fragment,verbatim]
2355 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2358 Currently, there is no way to condense multiple rests into a single
2361 @cindex condensing rests
2363 @node Automatic part combining
2364 @subsection Automatic part combining
2365 @cindex automatic part combining
2366 @cindex part combiner
2368 Automatic part combining is used to merge two parts of music onto on
2369 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2370 and orchestral scores. When the two parts are identical for a period of
2371 time, only one is shown. In places where the two parts differ, stem
2372 directions are set automatically. Also, soli and @emph{a due} parts can be
2373 identified and marke.
2375 The syntax for part combining is
2378 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2381 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2382 combined into one context @var{context}. The names of the music
2383 expressions must start with the prefixes @code{one} and @code{two}.
2385 [Name of music expressions? is that context name? ]
2387 The most useful function of the part combiner to combining threads into
2388 one voice, as common for wind parts in orchestral scores:
2390 @lilypond[verbatim,singleline,fragment]
2392 \context Voice=one \partcombine Voice
2393 \context Thread=one \relative c'' {
2396 \context Thread=two \relative c'' {
2402 Notice that the first @code{g} appears only once, although it was
2403 specified twice (once in each Thread). Also note that stem, slur and tie
2404 directions are set automatically, depending whether there is a solo or
2405 unisono. The Thread called @code{one} always gets up stems, and "solo",
2406 while @code{two} always gets down stems and "Solo II".
2408 If you just want the splitting of Threads and setting of directions, and
2409 not the textual markings, you may set the property @var{soloADue} to
2410 false. This mode can be used to set hymns:
2412 @lilypond[verbatim,singleline,fragment]
2414 \property Staff.soloADue = ##f
2415 \context Voice=one \partcombine Voice
2416 \context Thread=one \relative c'' {
2419 \context Thread=two \relative c'' {
2425 There are a number of other properties that you can use to tweak
2426 the behavior of part combining, refer to the automatically generated
2427 documentation. Look for @code{Thread_devnull_engraver}
2428 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2430 @cindex @code{Thread_devnull_engraver}
2431 @cindex @code{Voice_engraver}
2432 @cindex @code{A2_engraver}
2434 @node Hara-kiri staffs
2435 @subsection Hara-kiri staffs
2437 In orchestral scores, staffs that only have rests are usually removed.
2438 This saves some space. LilyPond also supports this through the
2439 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2440 of the Japanese Samourai warriors.} staff. This staff commits suicide
2441 when it finds itself to be empty after the line-breaking process---note
2442 that it will not disappear when it contains normal rests, you must use
2443 multi measure rests.
2445 The hara kiri staff is specialized version of the Staff context. It is
2446 available as the context identifier @code{\HaraKiriStaffContext}.
2447 Observe how the second staff in this example disappears in the second
2452 \notes \relative c' <
2453 \context Staff = SA { e4 f g a \break c1 }
2454 \context Staff = SB { c4 d e f \break R1 }
2458 \translator { \HaraKiriStaffContext }
2471 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2472 staff context symbol that appears at the end of a staff line. It
2473 anticipates the pitch of the first note(s) of the following line and
2474 thus helps the player or singer to manage line breaks during
2475 performance, thus enhancing readability of a score.
2480 \notes { c'1 d' e' d' \break c' d' e' d' }
2484 \consists Custos_engraver;
2485 Custos \override #'style = #'mensural;
2492 Custodes were frequently used in music notation until the 16th century.
2493 There were different appearences for different notation styles.
2494 Nowadays, they have survived only in special forms of musical notation
2495 such as via the @emph{editio vaticana} dating back to the beginning of
2498 For typesetting custodes, just put a @code{Custos_engraver} into the
2499 @code{StaffContext} when declaring the @code{\paper} block. In this
2500 block, you can also globally control the appearance of the custos symbol
2501 by setting the custos @code{style} property. Currently supported styles
2502 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2509 \consists Custos_engraver;
2510 Custos \override #'style = #'mensural;
2515 The property can also be set locally, for example in a @code{\notes}
2520 \property Staff.Custos \override #'style = #'vaticana
2521 c'1 d' e' d' \break c' d' e' d'
2525 @c . {Tuning output}
2527 @section Tuning output
2529 LilyPond tries to take as much formatting as possible out of your
2530 hands. Nevertheless, there are situations where it needs some help, or
2531 where you want to override its decisions. In this section we discuss
2532 ways to do just that.
2534 Notation output is specified in so called grobs (graphic objects). Each
2535 grob carries with it a set of properties (grob properties) specific to
2536 that object. For example, a stem grob has properties that specify its
2537 direction, length and thickness.
2540 The most common way of tuning the output is to alter the values of these
2541 properties. There are two ways of doing that: first, you can temporarily
2542 change the definition of a certain type of grob, thus affecting a whole
2543 set of objects. Second, you can select one specific object, and set a
2547 * Tuning groups of grobs ::
2548 * Tuning per grob ::
2554 @node Tuning groups of grobs
2555 @subsection Tuning groups of grobs
2557 @cindex grob description
2559 A grob definition is a Scheme association list, that is stored in a context
2560 property. By assigning to that property (using plain @code{\property}),
2561 you can change the resulting grobs.
2563 @lilypond[verbatim, fragment]
2564 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2567 The @code{\property} statement effectively empties the definition of the
2568 Stem object. One of the effects is that property specifying how it
2569 should be printed is erased, with the effect of rendering it invisible.
2575 This mechanism is fairly crude, since you can only set, but not modify,
2576 the definition of a grob. For this reason, there is a more advanced
2577 mechanism: you can add a property on top of an existing definition, or
2578 remove a property: @code{\override} adds a settings, @code{\revert}
2579 removes that setting.
2582 c'4 \property Voice.Stem \override #'thickness = #4.0
2583 c'4 \property Voice.Stem \revert #'thickness
2587 For the digirati, the grob description is an Scheme association
2588 list. Since it is singly linked, we can treat it as a stack, and
2589 @code{\override} and @code{\revert} are just push and pop
2590 operations. This pushing and popping is also used for overriding automatic
2593 If you revert a setting which was not set in the first place, then it
2594 has no effect. However, if the setting was set as a system default, it
2595 may remove the default value, and this may give surprising results,
2596 including crashes. In other words, if you use @code{\override} and
2597 @code{\revert}, be sure to balance the overrides and reverts.
2599 If balancing them is too much work, use the @code{\set} shorthand. It
2600 performs a revert followed by an override:
2602 \property Voice.Stem \set #'thickness = #2.0
2605 Formally the syntax for these constructions is
2607 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2608 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2609 \property @var{context}.@var{grobname} \revert @var{symbol}
2611 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2612 and @var{grobname} are strings and @var{value} is a Scheme expression.
2616 LilyPond will hang or crash if @var{value} contains cyclic references.
2620 @node Tuning per grob
2621 @subsection Tuning per grob
2623 @cindex \outputproperty
2625 A second way of tuning grobs is the more arcane @code{\outputproperty}
2627 Syntax is as follows
2629 \outputproperty @var{predicate} @var{symbol} = @var{value}
2631 Here @code{predicate} is a Scheme function taking a grob argument, and
2632 returning a boolean. This statement is processed by the
2633 @code{Output_property_engraver}. It instructs the engraver to feed all
2634 grobs that it sees to @var{predicate}. Whenever the predicate returns
2635 true, the grob property @var{symbol} will be set to @var{value}.
2637 You will need to combine this statement with @code{\context} to select
2638 the appropriate context to apply this to.
2640 If possible, avoid this feature: the semantics are not very clean, and
2641 the syntax and semantics are up for rewrite.
2643 Here are some random examples:
2645 @lilypond[fragment,verbatim,singleline]
2647 \context Staff \outputproperty
2648 #(make-type-checker 'note-head-interface)
2649 #'extra-offset = #'(0.5 . 0.75)
2653 @cindex @code{extra-offset}
2655 This selects all note heads occurring at current staff level, and sets
2656 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2659 Move the text "m.d.", but not the fingering instruction "2".
2660 @lilypond[verbatim,singleline]
2661 #(define (make-text-checker text)
2662 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2665 \notes\relative c''' {
2666 \property Voice.Stem \set #'direction = #1
2667 \outputproperty #(make-text-checker "m.d.")
2668 #'extra-offset = #'(-3.5 . -4.5)
2678 @subsection What to tune?
2680 This all tells you how to tune grobs, but what variables are there? The
2681 question is not answered in this manual (although you may encounter
2684 Grob properties are tied directly to the implementation of LilyPond, and
2685 they are thus a moving target. Documentation of such variables are part
2686 of the generated documentation: this documentation is generated from the
2687 sourcecode of lily for each version, so it is usually mch more up to
2688 date than this manual. It should be available from the same place where
2689 you got this manual.
2691 To decide how to tune a grob, you need to find the following information
2694 which grob to modify
2696 which property to modify
2698 which context the grob comes from.
2701 Included with the automatically generated documentation is a master list
2702 of grobs. Each one can be clicked, taking you to a overview of the
2703 available properties.
2705 There is also a master list of contexts. Clicking each takes you to an
2706 overview of the context, listing which grob types are created there.
2709 @node Font selection
2710 @subsection Font selection
2712 Most graphics in LilyPond are composed of characters of fonts. You can
2713 alter the characteristics of the font by setting certain grob
2714 properties. The mechanism that is used for this resembles LaTeX's New
2715 Font Selection Scheme. Within this scheme, a font is entirely
2716 characterized by its font name.
2718 For each grob that uses fonts (in other words, each grob that supports
2719 @code{font-interface}) a font-name must be selected before it can be
2720 printed. The font name is selected by looking at a number of grob
2725 The general class of the typeface. Supported are roman (Computer
2726 Modern), braces (for piano staff braces), music (the standard music
2727 font), dynamic (font for dynamic signs) and typewriter
2730 A symbol indicating the shape of the font, a finer gradation than
2731 font-family. Choices are italic and upright
2733 Symbol indicating the serie of the font. Series form a finer gradation
2734 than font-shape. Choices are medium and bold.
2736 @item font-relative-size
2737 A number indicating the size relative the standard size. For example,
2738 with 20pt staff height, relative size -1 corresponds to 16pt staff
2739 height, and relative size +1 corresponds to 23 pt staff height.
2741 @item font-design-size
2742 A number indicating the design size of the font.
2744 This is a feature of the Computer Modern Font: each point size has a
2745 slightly different design. Smaller design sizes are relatively wider,
2746 which enhances readability. Scalable type faces such TrueType and Adobe
2747 Type1 usually come as ``one design fits all sizes''.
2750 The name of the font, without the design size, eg. @code{cmr},
2751 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2756 The font is selected by taking the first font that satisfies all
2757 qualifiers specified. You can override any of these fields through
2758 @code{\override} and @code{\revert}. The special value @code{*} matches
2759 any value for that qualifier.
2762 \property Lyrics.LyricText \override #'font-series = #'bold
2763 \property Lyrics.LyricText \override #'font-shape = #'*
2766 @cindex @code{font-style}
2768 There are also pre-cooked font selection qualifiers. These are selected
2769 through the grob property @code{font-style}. For example, the style
2770 @code{finger} selects family @code{number} and relative size @code{-3}.
2771 Styles available include: volta, finger, tuplet, timesig, mmrest,
2772 script, large, Large and dynamic.
2774 The style sheets and tables for selecting fonts are located in
2775 @file{scm/font.scm}. Refer to this file for more information.
2779 Relative size is not linked to any real size. There is no mechanism to
2780 select magnifications of fonts, meaning that you can not scale fonts
2781 continuoussly. There is no style sheet provided for other fonts besides
2784 @cindex font selection
2785 @cindex font magnification
2786 @cindex @code{font-interface}
2792 @subsection Text markup
2796 LilyPond has an internal mechanism to typeset texts. You can
2797 form text markup expressions by composing scheme expressions
2798 in the following way.
2800 @lilypond[verbatim, singleline]
2805 c^#'(italic "italic")
2806 d_#'((bold italic) "ff")
2808 f_#'(lines "one" (bold "two"))
2809 g^#'(music "noteheads-2" "flags-u3")
2813 Normally, the Scheme markup text is stored in the @code{text} property
2814 of a grob. Formally, it is defined as follows:
2817 text: string | (head? text+)
2818 head: markup | (markup+)
2819 markup-item: property | abbrev
2820 property: (@var{key} . @var{value})
2821 abbrev: @code{rows lines roman music bold italic named super sub text}
2822 @code{finger volta timesig mmrest mark script large Large dynamic}
2825 The markup is broken down and converted into a list of grob properties,
2826 which are prepended to the property list. The @var{key}-@var{value}
2827 pair is a grob property.
2829 The following abbreviations are currently defined:
2833 horizontal mode: set all text on one line (default)
2835 vertical mode: set every text on new line
2845 lookup by character name
2847 plain text lookup (by character value)
2853 select fingering number fontstyle
2855 select volta number fontstyle
2857 select time signature number fontstyle
2859 select multi measure rest number fontstyle
2861 select mark number fontstyle
2863 select scriptsize roman fontstyle
2865 select large roman fontstyle
2867 select Large roman fontstyle
2869 select dynamics fontstyle
2872 It is possible to use @TeX{} commands in the strings, but this should be
2873 avoided because this makes it impossible for LilyPond to compute the
2874 exact length of the string, which may lead to collisions. Also, @TeX{}
2875 commands won't work with direct postscript output.
2879 @section Page layout
2893 @subsection Paper block
2896 The most important output definition is the @code{\paper} block, for
2897 music notation. The syntax is
2900 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2903 where each of the items is one of
2906 @item An assignment. The assignment must be terminated by a
2909 @item A context definition. See @ref{Notation Contexts} for
2910 more information on context definitions.
2912 @item \stylesheet declaration. Its syntax is
2914 \stylesheet @var{alist}
2917 See @file{scm/font.scm} for details of @var{alist}.
2918 @item an \elementdescriptions declaration.
2920 \elementdescriptions @var{alist}
2922 See @file{scm/grob-description.scm} for details of @var{alist}.
2926 @c . {Paper variables}
2927 @node Paper variables
2928 @subsection Paper variables
2929 @cindex Paper variables
2931 The paper block has some variables you may want to use or change:
2934 @cindex @code{indent}
2936 The indentation of the first line of music.
2937 @cindex @code{staffspace}
2939 @item @code{staffspace}
2940 The distance between two staff lines, calculated from the center
2941 of the lines. If you want scale independent output, then you should
2942 use either this or @code{stafflinethickness}
2943 as a unit for distances you modify.
2945 @cindex @code{linewidth}
2946 @item @code{linewidth}
2947 Sets the width of the lines.
2949 If set to a negative value, a single
2950 unjustified line is produced.
2952 @cindex @code{textheight}
2954 @item @code{textheight}
2955 Sets the total height of the music on each page. Only used by
2958 @cindex @code{interscoreline}
2960 @item @code{interscoreline}
2961 Sets the spacing between systems.
2963 @cindex @code{interscorelinefill}
2967 @item @code{interscorelinefill}
2968 If set to a positive number, the distance between the score
2969 lines will stretch in order to fill the full page. In that
2970 case @code{interscoreline} specifies the minimum spacing.
2975 @cindex @code{stafflinethickness}
2977 @item @code{stafflinethickness}
2978 Determines the thickness of staff lines, and also acts as a scaling
2979 parameter for other line thicknesses.
2986 @subsection Font size
2989 The Feta font provides musical symbols at six different sizes. These
2990 fonts are 11 point, 13 point, 16 point, 20 point,
2991 23 point, and 26 point. The point size of a font is the
2992 height of the five lines in a staff when displayed in the font.
2994 Definitions for these sizes are the files @file{paperSZ.ly}, where
2995 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2996 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2997 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2998 @code{paperTwentysix} are defined respectively. The default
2999 @code{\paper} block is also set.
3001 The font definitions are generated using a Scheme function. For more
3002 details, see the file @file{font.scm}.
3008 @subsection Paper size
3013 @cindex @code{papersize}
3015 To change the paper size, you must first set the
3016 @code{papersize} variable at top level. Set it to
3017 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3018 specification, you must set the font as described above. If you want
3019 the default font, then use the 20 point font. The new paper size will
3020 not take effect if the font is not loaded and selected afterwards.
3024 \include "paper16.ly"
3028 \paper @{ \paperSixteen @}
3032 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3033 will set the paper variables @code{hsize} and @code{vsize} (used by
3044 @subsection Line break
3047 @cindex breaking lines
3049 Line breaks are normally computed automatically. They are chosen such
3050 that the resulting spacing has low variation, and looks neither cramped
3053 Occasionally you might want to override the automatic breaks; you can do
3054 this by specifying @code{\break}. This will force a line break at this
3055 point. Do remember that line breaks can only occur at places where there
3056 are barlines. If you want to have a line break where there is no
3057 barline, you can force an invisible barline by entering @code{\bar "";}.
3059 Similarly, @code{\noBreak} forbids a line break at a certain point.
3061 @cindex @code{\penalty}
3063 The @code{\break} and @code{\noBreak} commands are defined in terms of
3064 the penalty command:
3066 \penalty @var{int} @code{;}
3069 This encourages or discourages LilyPond to make a line break at this
3074 The scaling of the @code{\penalty} argument is not well-defined. The
3075 command is rather kludgy, and slated for rewriting.
3079 @subsection Page break
3082 @cindex breaking pages
3085 Page breaks are normally computed by @TeX{}, so they are not under
3086 direct control of LilyPond. However, you can insert a commands into the
3087 @file{.tex} output to instruct @TeX{} where to break pages. For more
3088 details, see the example file @file{input/test/between-systems.ly}
3099 LilyPond can produce MIDI output. The performance lacks lots of
3100 interesting effects, such as swing, articulation, slurring, tieing,
3101 etc., but it is good enough for proof-hearing the music you enter.
3103 Dynamics and tempo changes are interpreted.
3105 [TODO: mention volume control/Instrument Equaliser]
3110 It is currently not possible to use the percussion channel (generally
3111 channel 10 of a MIDI file).
3115 * MIDI instrument names::
3120 @subsection MIDI block
3124 The MIDI block is analogous to the paper block, but it is somewhat
3125 simpler. The @code{\midi} block can contain:
3129 @item a @code{\tempo} definition
3130 @item context definitions
3133 Assignments in the @code{\midi} block are not allowed.
3137 @cindex context definition
3139 Context definitions follow precisely the same syntax as within the
3140 \paper block. Translation modules for sound are called performers.
3141 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3144 @node MIDI instrument names
3145 @subsection MIDI instrument names
3147 @cindex instrument names
3148 @cindex @code{Staff.midiInstrument}
3149 @cindex @code{Staff.instrument}
3151 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3152 property or, if that property is not set, the @code{Staff.instrument}
3153 property. The instrument name should be chosen from the list in
3154 @ref{MIDI instruments}.
3158 If the selected string does not exactly match, then LilyPond uses the
3159 default piano. It is not possible to select an instrument by number.
3171 @section Music entry
3179 One of the applications of LilyPond is to enter music from existing
3180 written or printed material. When you're doing this kind of copying
3181 work, you can easily make mistakes. This section deals with tricks and
3182 features that help you enter music, and find and correct mistakes.
3186 @subsection Relative
3188 @cindex relative octave specification
3190 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3191 When you copy existing music, it is easy to accidentally put a pitch in
3192 the wrong octave and hard to find such an error. To prevent these
3193 errors, LilyPond features octave entry.
3195 @cindex @code{\relative}
3197 \relative @var{startpitch} @var{musicexpr}
3200 The octave of notes that appear in @var{musicexpr} are calculated as
3201 follows: If no octave changing marks are used, the basic interval
3202 between this and the last note is always taken to be a fourth or less.
3203 The octave changing marks @code{'} and @code{,} can then
3204 be added to raise or lower the pitch by an extra octave. Upon entering
3205 relative mode, an absolute starting pitch must be specified that will
3206 act as the predecessor of the first note of @var{musicexpr}.
3208 This distance is determined without regarding accidentals: a
3209 @code{fisis} following a @code{ceses} will be put above the
3212 Entering music that changes octave frequently is easy in relative mode.
3213 @lilypond[fragment,singleline,verbatim,center]
3219 And octave changing marks are used for intervals greater than a fourth.
3220 @lilypond[fragment,verbatim,center]
3222 c g c f, c' a, e'' }
3225 If the preceding item is a chord, the first note of the chord is used
3226 to determine the first note of the next chord. But other notes
3227 within the second chord are determined by looking at the immediately
3230 @lilypond[fragment,verbatim,center]
3237 @cindex @code{\notes}
3239 The pitch after the @code{\relative} contains a notename. To parse
3240 the pitch as a notename, you have to be in note mode, so there must
3241 be a surrounding @code{\notes} keyword (which is not
3244 The relative conversion will not affect @code{\transpose},
3245 @code{\chords} or @code{\relative} sections in its argument. If you
3246 want to use relative within transposed music, you must place an
3247 additional @code{\relative} inside the @code{\transpose}.
3252 @subsection Bar check
3256 @cindex @code{barCheckNoSynchronize}
3260 Whenever a bar check is encountered during interpretation, a warning
3261 message is issued if it doesn't fall at a measure boundary. This can
3262 help you find errors in the input. Depending on the value of
3263 @code{barCheckNoSynchronize}, the beginning of the measure will be
3264 relocated, so this can also be used to shorten measures.
3266 A bar check is entered using the bar symbol, @code{|}
3270 @c . {Point and click}
3271 @node Point and click
3272 @subsection Point and click
3274 Point and click lets you find notes in the input by clicking on them in
3275 the Xdvi window. This makes it very easy to find input that causes some
3276 error in the sheet music.
3278 To use it, you need the following software
3282 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3283 Xdvi} version 22.36 or newer.
3285 Note that most @TeX{} distributions ship with xdvik, which is a
3286 different and less well maintained program. To find out which xdvi you
3287 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3292 Add one these lines to the top of your .ly file. The first one is for
3293 line location only. The second one is more convenient, but requires
3294 patching @code{emacsclient}.
3297 #(set! point-and-click line-location)
3298 #(set! point-and-click line-column-location)
3301 In the emacs startup file (usually @file{~/.emacs}), add the following
3306 If you want emacs to jump to the exact spot (and not just the line) on a
3307 click, you must enable column positioning. To do so, you need to patch
3308 emacsclient. Apply @file{emacsclient.patch} (included with the source
3309 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3310 source code. Recompile and stick the recompiled emacsclient into a bin
3311 directory, and put @file{server.el} into a elisp directory
3312 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3313 init file, before invoking server-start.
3316 (setq load-path (cons "~/usr/share/emacs" load-path))
3320 Xdvi must be configured to use the emacs editor. Before starting, set
3321 the environment variable @code{XEDITOR} to
3323 emacsclient --no-wait +%c:%l %f
3325 Xdvi also must be configured to find the fonts. Refer to the
3326 xdvi documentation for more information.
3328 When viewing, control-mousebutton 1 will take you to the originating
3329 line and column. Control-mousebutton 2 will show all clickable boxes.
3333 When you convert the TeX file to PostScript using dvips, dvips
3334 will complain about not finding @code{src:X:Y} files. Those complaints are
3335 harmless, and can be ignored.
3338 @node Interpretation context
3339 @section Interpretation context
3342 * Notation Contexts::
3343 * Creating contexts::
3344 * Default contexts::
3345 * Context properties::
3346 * Changing context definitions::
3347 * Defining new contexts::
3351 @c . {Notation Contexts}
3352 @node Notation Contexts
3353 @subsection Notation Contexts
3355 @cindex notation contexts
3357 Notation contexts are objects that only exist during a run of LilyPond.
3358 During the interpretation phase of LilyPond (when it prints
3359 "interpreting music"), the music expresiion in a @code{\score} block is
3360 interpreted in time order. This is the same order that humans hear and
3363 During this interpretation, the notation context is holds the state for
3364 the current point within the music. It contains information like
3367 @item What notes are playing at this point?
3368 @item What symbols will be printed at this point?
3369 @item What is the current key signature, time signature, point within
3373 Contexts are grouped hierarchically: A @code{Voice} context is
3374 contained in a @code{Staff} context (because a staff can contain
3375 multiple voices at any point), a @code{Staff} context is contained in
3376 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3377 these can all contain multiple staffs).
3380 Contexts associated with sheet music output are called @emph{notation
3381 contexts}, those for sound output are called performance contexts.
3384 @node Creating contexts
3385 @subsection Creating contexts
3387 @cindex @code{\context}
3388 @cindex context selection
3390 Contexts for a music expression can be selected manually, using the
3391 following music expression.
3394 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3397 This instructs lilypond to interpret @var{musicexpr} within the context
3398 of type @var{contexttype} and with name @var{contextname}. If this
3399 context does not exist, it will be created.
3403 @lilypond[verbatim,singleline]
3405 \notes \relative c'' {
3406 c4 <d4 \context Staff = "another" e4> f
3413 In this example, the @code{c} and @code{d} are printed on the
3414 default staff. For the @code{e}, a context Staff called
3415 @code{another} is specified; since that does not exist, a new
3416 context is created. Within @code{another}, a (default) Voice context
3417 is created for the @code{e4}. When all music referring to a
3418 context is finished, the context is ended as well. So after the
3419 third quarter, @code{another} is removed.
3423 @node Default contexts
3424 @subsection Default contexts
3426 Most music expressions don't need @code{\context}: they inherit the
3427 notation context from their parent. Each note is a music expression, and
3428 as you can see in the following example, only the sequential music
3429 enclosing the three notes has an explicit context.
3431 @lilypond[verbatim,singleline]
3432 \score { \notes \context Voice = goUp { c'4 d' e' } }
3435 There are some quirks that you must keep in mind when dealing with
3438 First, every top-level music is interpreted by the Score context, in other
3439 words, you may think of @code{\score} working like
3442 \context Score @var{music}
3446 Second, sequential music follows the contexts of its
3447 ``children''. Consider the following example.
3449 @lilypond[verbatim, singleline]
3450 \score { \context Score \notes { c'4 ( d' )e' } }
3453 The sequential music is interpreted by the Score context initially
3454 (notice that the @code{\context} specification is redundant), but when a
3455 note is encountered, contexts are setup to accept that note. In this
3456 case, a Thread, Voice and Staff are created. The rest of the sequential
3457 music is also interpreted with the same Thread, Voice and Staff context,
3458 putting the notes on the same staff, in the same voice.
3460 This is a convenient mechanism, but do not expect opening chords to work
3461 without @code{\context}. For every note, a separate staff is
3464 @lilypond[verbatim, singleline]
3465 \score { \notes <c'4 es'> }
3468 Of course, if the chord is preceded by a normal note in sequential
3469 music, the chord will be interpreted by the Thread of the preceding
3471 @lilypond[verbatim,singleline]
3472 \score { \notes { c'4 <c'4 es'> } }
3477 @node Context properties
3478 @subsection Context properties
3480 Notation contexts can be modified from within the @file{.ly} file. The
3481 following music expression does that job:
3483 @cindex @code{\property}
3485 \property @var{contextname}.@var{propname} = @var{value}
3488 Sets the @var{propname} property of the context @var{contextname} to the
3489 specified Scheme expression @var{value}. All @var{propname} and
3490 @var{contextname} are strings, which are typically unquoted.
3492 Properties that are set in one context are inherited by all of the
3493 contained contexts. This means that a property valid for the
3494 @code{Voice} context can be set in the @code{Score} context (for
3495 example) and thus take effect in all @code{Voice} contexts.
3497 Properties can be unset using the following expression:
3499 \property @var{contextname}.@var{propname} \unset
3502 This removes the definition of @var{propname} in @var{contextname}. If
3503 @var{propname} was not defined in @var{contextname} (but was inherited
3504 from a higher context), then this has no effect.
3509 @code{\property \unset} is not the inverse of @code{\property \set}
3514 @c . {Context definitions}
3515 @node Changing context definitions
3516 @subsection Changing context definitions
3518 @cindex context definition
3519 @cindex translator definition
3521 The most common way to define a context is by extending an existing
3522 context. You can change an existing context from the paper block, by
3523 first initializing a translator with an existing context identifier:
3527 @var{context-identifier}
3530 Then you can add engravers, remove engravers.
3531 The syntax for these operations are respectively
3533 \remove @var{engravername}
3534 \consists @var{engravername}
3538 Here @var{engravername} is a string, the name of an engraver in the
3541 @var{propname} = @var{value}
3545 @lilypond[verbatim,singleline]
3549 \translator { \StaffContext
3550 \remove Clef_engraver;
3556 You can also set properties in a translator definition. The syntax is as
3559 @var{propname} is a string and @var{value} is a Scheme
3562 @var{propname} = @var{value}
3563 @var{propname} \set @var{symbol} = @var{value}
3564 @var{propname} \override @var{symbol} = @var{value}
3565 @var{propname} \revert @var{symbol}
3569 These type of property assignments happen before interpretation starts,
3570 so a @code{\property} expression will override any predefined settings.
3573 To simplify editing translators, all standard contexts have standard
3574 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3575 @code{VoiceContext}.
3577 @node Defining new contexts
3578 @subsection Defining new contexts
3580 If you want to build a context from scratch, you must also supply the
3581 following extra information:
3583 @item A name, specified by @code{\name @var{contextname};}.
3585 @item A cooperation module. This is specified by @code{\type
3592 \type "Engraver_group_engraver";
3593 \name "SimpleStaff";
3595 \consists "Staff_symbol_engraver";
3596 \consists "Note_head_engraver";
3597 \consistsend "Axis_group_engraver";
3601 Basic building blocks of translation are called engravers; they are
3602 special C++ classes.
3604 The argument of @code{\type} is the name for a special engraver that
3605 handles cooperation between simple engravers such as
3606 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3607 for this engraver are the following:
3609 @cindex @code{Engraver_group_engraver}
3610 @item @code{Engraver_group_engraver}
3611 The standard cooperation engraver.
3613 @cindex @code{Score_engraver}
3615 @item @code{Score_engraver}
3616 This is cooperation module that should be in the top level context,
3617 and only the toplevel context.
3619 @cindex @code{Grace_engraver_group}
3621 @item @code{Grace_engraver_group}
3622 This is a special cooperation module (resembling
3623 @code{Score_engraver}) that is used to created an embedded
3630 @item @code{\alias} @var{alternate-name} @code{;}
3631 This specifies a different name. In the above example,
3632 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3634 @item @code{\consistsend} @var{engravername} @code{;}
3635 Analogous to @code{\consists}, but makes sure that
3636 @var{engravername} is always added to the end of the list of
3639 Some engraver types need to be at the end of the list; this
3640 insures they are put there, and stay there, if a user adds or
3641 removes engravers. This command is usually not needed for
3644 @item @code{\accepts} @var{contextname} @code{;}
3645 Add @var{contextname} to the list of context this context can
3646 contain. The first listed context is the context to create by
3649 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3650 completeness, but is never used in practice.
3653 @item @code{\name} @var{contextname} @code{;}
3654 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3655 the name is not specified, the translator won't do anything.
3658 In the @code{\paper} block, it is also possible to define translator
3659 identifiers. Like other block identifiers, the identifier can only
3660 be used as the very first item of a translator. In order to define
3661 such an identifier outside of @code{\score}, you must do
3667 foo = \translator @{ @dots{} @}
3674 \translator @{ \foo @dots{} @}
3682 @cindex paper types, engravers, and pre-defined translators
3689 @c . {Syntactic details}
3690 @node Syntactic details
3691 @section Syntactic details
3692 @cindex Syntactic details
3694 This section describes details that were too boring to be put elsewhere.
3699 * Music expressions::
3700 * Manipulating music expressions::
3708 @subsection Top level
3711 This section describes what you may enter at top level.
3715 @subsubsection Score
3718 @cindex score definition
3720 The output is generated combining a music expression with an output
3721 definition. A score block has the following syntax:
3724 \score @{ @var{musicexpr} @var{outputdefs} @}
3727 @var{outputdefs} are zero or more output definitions. If none is
3728 supplied, the default @code{\paper} block will be added.
3732 @c . {Default output}
3733 @subsubsection Default output
3735 Default values for the @code{\paper} and @code{\midi} block are set by
3736 entering such a block at top-level.
3739 @subsubsection Header
3741 @cindex @code{\header}
3744 A header describes bibilographic information of the file's contents. It
3745 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3746 use this information for generating titles. Key values that are used by
3747 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3748 metre, arranger, piece and tagline.
3750 @cindex @code{ly2dvi}
3754 \header @{ @var{key1} = @var{val1};
3755 @var{key2} = @var{val2}; @dots{} @}
3758 It is customary to put the @code{\header} at the top of the file.
3760 @subsubsection Default output
3762 A @code{\midi} or @code{\paper} block at top-level sets the default
3764 paper block for all scores that lack an explicit paper block.
3768 @subsection Identifiers
3771 All of the information in a LilyPond input file, is represented as a
3772 Scheme value. In addition to normal Scheme data types (such as pair,
3773 number, boolean, etc.), LilyPond has a number of specialized data types,
3780 @item Translator_def
3784 @item Music_output_def
3785 @item Moment (rational number)
3788 LilyPond also includes some transient object types. Objects of these
3789 types are built during a LilyPond run, and do not `exist' per se within
3790 your input file. These objects are created as a result of your input
3791 file, so you can include commands in the input to manipulate them,
3792 during a lilypond run.
3795 @item Grob: short for Graphical object. See @ref{Grobs}.
3796 @item Molecule: device-independent page output object,
3797 including dimensions. Produced by some Grob functions
3799 @item Translator: object that produces audio objects or Grobs. This is
3800 not yet user accessible.
3801 @item Font_metric: object representing a font. (See @ref{Font metrics})
3806 @node Music expressions
3807 @subsection Music expressions
3809 @cindex music expressions
3811 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3812 syllables are music expressions, and you can combine music expressions
3813 to form new ones, for example by enclosing a list of expressions in
3814 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3815 compound expression is formed out of the quarter note @code{c} and a
3816 quarter note @code{d}:
3819 \sequential @{ c4 d4 @}
3822 @cindex Sequential music
3823 @cindex @code{\sequential}
3824 @cindex sequential music
3827 @cindex Simultaneous music
3828 @cindex @code{\simultaneous}
3830 The two basic compound music expressions are simultaneous and
3834 \sequential @code{@{} @var{musicexprlist} @code{@}}
3835 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3837 For both, there is a shorthand:
3839 @code{@{} @var{musicexprlist} @code{@}}
3843 @code{<} @var{musicexprlist} @code{>}
3845 for simultaneous music.
3846 In principle, the way in which you nest sequential and simultaneous to
3847 produce music is not relevant. In the following example, three chords
3848 are expressed in two different ways:
3850 @lilypond[fragment,verbatim,center]
3851 \notes \context Voice {
3852 <a c'> <b d' > <c' e'>
3853 < { a b c' } { c' d' e' } >
3858 Other compound music expressions include
3861 \transpose @var{pitch} @var{expr}
3862 \apply @var{func} @var{expr}
3863 \context @var{type} = @var{id} @var{expr}
3864 \times @var{fraction} @var{expr}
3868 @c . {Manipulating music expressions}
3869 @node Manipulating music expressions
3870 @subsection Manipulating music expressions
3872 The @code{\apply} mechanism gives you access to the internal
3873 representation of music. You can write Scheme-functions that operate
3874 directly on it. The syntax is
3876 \apply #@var{func} @var{music}
3878 This means that @var{func} is applied to @var{music}. The function
3879 @var{func} should return a music expression.
3881 This example replaces the text string of a script. It also shows a dump
3882 of the music it processes, which is useful if you want to know more
3883 about how music is stored.
3885 #(define (testfunc x)
3886 (if (equal? (ly-get-mus-property x 'text) "foo")
3887 (ly-set-mus-property x 'text "bar"))
3889 (ly-set-mus-property x 'elements
3890 (map testfunc (ly-get-mus-property x 'elements)))
3895 \apply #testfunc { c4_"foo" }
3899 For more information on what is possible, see the @ref{Tricks} and the
3900 automatically generated documentation.
3903 Directly accessing internal representations is dangerous: the
3904 implementation is subject to changes, so you should avoid this feature
3909 @c . {Span requests}
3915 @subsubsection Span requests
3916 @cindex Span requests
3918 Notational constructs that start and end on different notes can be
3919 entered using span requests. The syntax is as follows:
3923 \spanrequest @var{startstop} @var{type}
3927 @cindex @code{\start}
3928 @cindex @code{\stop}
3930 This defines a spanning request. The @var{startstop} parameter is either
3931 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
3932 describes what should be started. Much of the syntactic sugar is a
3933 shorthand for @code{\spanrequest}, for example,
3935 @lilypond[fragment,verbatim,center]
3936 c'4-\spanrequest \start "slur"
3937 c'4-\spanrequest \stop "slur"
3940 Among the supported types are @code{crescendo}, @code{decrescendo},
3941 @code{beam}, @code{slur}. This is an internal command. Users are
3942 encouraged to use the shorthands which are defined in the initialization
3943 file @file{spanners.ly}.
3948 @subsection Assignments
3951 Identifiers allow objects to be assigned to names during the parse
3952 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3953 and to refer to an identifier, you preceed its name with a backslash:
3954 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3955 the input-types listed above. Identifier assignments can appear at top
3956 level in the LilyPond file, but also in @code{\paper} blocks.
3958 Semicolons are forbidden after top level assignments, but mandatory in
3959 other places. The rules about semicolons and assignments are very
3960 confusing, but when LilyPond input evolves more towards Scheme, we hope
3961 that this problem will grow smaller.
3963 An identifier can be created with any string for its name, but you will
3964 only be able to refer to identifiers whose names begin with a letter,
3965 being entirely alphabetical. It is impossible to refer to an identifier
3966 whose name is the same as the name of a keyword.
3968 The right hand side of an identifier assignment is parsed completely
3969 before the assignment is done, so it is allowed to redefine an
3970 identifier in terms of its old value, e.g.
3976 When an identifier is referenced, the information it points to is
3977 copied. For this reason, an identifier reference must always be the
3978 first item in a block.
3982 \paperIdent % wrong and invalid
3986 \paperIdent % correct
3991 @c . {Lexical modes}
3993 @subsection Lexical modes
3994 @cindex Lexical modes
3997 @cindex @code{\notes}
3998 @cindex @code{\chords}
3999 @cindex @code{\lyrics}
4001 To simplify entering notes, lyrics, and chords, LilyPond has three
4002 special input modes on top of the default mode: note, lyrics and chords
4003 mode. These input modes change the way that normal, unquoted words are
4004 interpreted: for example, the word @code{cis} may be interpreted as a
4005 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4008 A mode switch is entered as a compound music expressions
4010 @code{\notes} @var{musicexpr}
4011 @code{\chords} @var{musicexpr}
4012 @code{\lyrics} @var{musicexpr}.
4015 In each of these cases, these expressions do not add anything to the
4016 meaning of their arguments. They are just a way to indicate that the
4017 arguments should be parsed in indicated mode. The modes are treated in
4018 more detail in the @ref{Note entry}, @ref{Lyrics} and
4021 You may nest different input modes.
4025 @subsection Ambiguities
4030 The grammar contains a number of ambiguities. We hope to resolve them at
4034 @item The assignment
4040 can be interpreted as making a string identifier @code{\foo}
4041 containing @code{"bar"}, or a music identifier @code{\foo}
4042 containing the syllable `bar'.
4044 @item The assignment
4050 can be interpreted as making an integer identifier
4051 containing -6, or a Request identifier containing the
4052 fingering `6' (with neutral direction).
4054 @item If you do a nested repeat like
4066 then it is ambiguous to which @code{\repeat} the
4067 @code{\alternative} belongs. This is the classic if-then-else
4068 dilemma. It may be solved by using braces.
4070 @item (an as yet unidentified ambiguity :-)
4074 @c . {Lexical details}
4075 @node Lexical details
4076 @section Lexical details
4078 Even more boring details, now on lexical side of the input parser.
4089 * Version information::
4094 @subsection Comments
4097 @cindex block comment
4098 @cindex line comment
4102 A one line comment is introduced by a @code{%} character.
4103 Block comments are started by @code{%@{} and ended by @code{%@}}.
4104 They cannot be nested.
4107 @subsection Direct Scheme
4111 @cindex Scheme, in-line code
4114 LilyPond contains a Scheme interpreter (the GUILE library) for
4115 internal use. In some places Scheme expressions also form valid syntax:
4116 whereever it is allowed,
4120 evaluates the specified Scheme code. If this is used at toplevel, then
4121 the result is discarded. Example:
4123 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4126 @code{\override} expects two Scheme expressions, so there are two Scheme
4127 expressions. The first one is a symbol (@code{foobar}), the second one
4128 an integer (namely, 3).
4130 Scheme is a full-blown programming language, and a full discussion is
4131 outside the scope of this document. Interested readers are referred to
4132 the website @uref{http://www.schemers.org/} for more information on
4137 @subsection Keywords
4141 Keywords start with a backslash, followed by a number of lower case
4142 alphabetic characters. These are all the keywords.
4145 apply arpeggio autochange spanrequest commandspanrequest
4146 simultaneous sequential accepts alternative bar breathe
4147 char chordmodifiers chords clef cm consists consistsend
4148 context denies duration dynamicscript elementdescriptions
4149 font grace header in lyrics key mark pitch
4150 time times midi mm name pitchnames notes outputproperty
4151 override set revert partial paper penalty property pt
4152 relative remove repeat addlyrics partcombine score
4153 script stylesheet skip textscript tempo translator
4158 @subsection Integers
4166 Formed from an optional minus sign followed by digits. Arithmetic
4167 operations cannot be done with integers, and integers cannot be mixed
4172 @cindex real numbers
4178 Formed from an optional minus sign and a sequence of digits followed
4179 by a @emph{required} decimal point and an optional exponent such as
4180 @code{-1.2e3}. Reals can be built up using the usual operations:
4181 `@code{+}', `@code{-}', `@code{*}', and
4182 `@code{/}', with parentheses for grouping.
4190 A real constant can be followed by one of the dimension keywords:
4191 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4192 points, inches and centimeters, respectively. This converts the number
4193 a number that is the internal representation of that dimension.
4201 Begins and ends with the @code{"} character. To include a @code{"}
4202 character in a string write @code{\"}. Various other backslash
4203 sequences have special interpretations as in the C language. A string
4204 that contains no spaces can be written without the quotes. See
4205 @ref{Lexical modes} for details on unquoted strings; their
4206 interpretation varies depending on the situation. Strings can be
4207 concatenated with the @code{+} operator.
4209 The tokenizer accepts the following commands. They have no grammatical
4210 function, hence they can appear anywhere in the input.
4214 @subsection Main input
4217 @cindex @code{\maininput}
4219 The @code{\maininput} command is used in init files to signal that the
4220 user file must be read. This command cannot be used in a user file.
4222 @node File inclusion
4223 @subsection File inclusion
4224 @cindex @code{\include}
4226 \include @var{filename}
4229 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4230 unquoted string will not work here!) or a string identifier. The full
4231 filename including the @file{.ly} extension must be given,
4234 @node Version information
4235 @subsection Version information
4236 @cindex @code{\version}
4238 \version @var{string} ;
4241 Specify the version of LilyPond that a file was written for. The
4242 argument is a version string in quotes, for example @code{"1.2.0"}.
4243 This is used to detect invalid input, and to aid
4244 @code{convert-ly} a tool that automatically upgrades input files. See
4245 See @ref{convert-ly} for more information on @code{convert-ly}.
4254 @c .{Local emacs vars}
4257 @c minor-mode: font-lock
4258 @c minor-mode: outline
4259 @c outline-layout: (-1 : 0)
4260 @c outline-use-mode-specific-leader: "@c \."
4261 @c outline-primary-bullet: "{"
4262 @c outline-stylish-prefixes: nil
4263 @c outline-override-protect: t