3 @c - Reinsert subsection commands that were lost in the
4 @c ancient conversion from YODL! /MB
5 @c - Restructure! Separate internal commands from user level commands. /MB
6 @c - Add some words about Guile. /MB
7 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
9 @node Reference Manual, , , Top
10 @chapter Reference Manual
14 * Top level:: Top level
15 * Pitch names:: Pitch names
16 * Lexical conventions:: Lexical conventions
17 * Other languages:: Note names in various languages
18 * Lexical modes:: modes
20 * Music expressions:: Music expressions
21 * Atomic music expressions:: Atomic music expressions
22 * Note specification:: notedesc
24 * Manual beams:: Manual beam
25 * stem tremolo:: tremolo
26 * Compound music expressions:: Compound music expressions
29 * transpose:: transpose
30 * Ambiguities:: Ambiguities
31 * Notation conversion specifics:: Notation conversion specifics
33 * lyricprint:: lyricprint
34 * Notation Contexts:: Notation Contexts
35 * Properties:: Changing formatting
36 * Page layout:: Layout
37 * contextdefs:: contextdefs
38 * Sound output:: Sound output
40 * Pre-defined Identifiers:: Pre-defined Identifiers
41 @c May be fragile. Better make single link to generated doco?
42 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
43 * Engravers:(lilypond-internals)LilyPond engravers.
44 * Backend:(lilypond-internals)LilyPond backend.
49 @node Overview, , , Reference Manual
52 This document@footnote{This document has been revised for LilyPond 1.2.}
53 describes the the GNU LilyPond input format This format represents a
54 piece of music in an elegant way, but contains enough information for
55 both automatic typesetting and automatic performances.
57 LilyPond input can be classified into three types:
59 @item musical expressions: a musical expression is some combination of
61 @item output definitions: recipes for translating those musical
62 expressions into performances (MIDI) or graphics (eg. PostScript).
64 @item declarations: by declaring and naming musical expressions, you
65 can enter and edit them in manageable chunks.
70 @node Top level, , , Reference Manual
75 This section describes what you may enter at top level.
79 @cindex score definition
81 The output is generated combining a music expression with an output
82 definition. A score block has the following syntax:
85 \score @{ @var{musicexpr} @var{outputdefs} @}
88 @var{outputdefs} are zero or more output definitions. If no output
89 definition is supplied, the default @code{\paper} block will be added.
98 \header @{ @var{key1} = @var{val1};
99 @var{key2} = @var{val2}; @dots{} @}
102 A header describes the file's contents. It can also appear in a
103 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
104 information for generating titles. Key values that are used by
105 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
106 metre, arranger, piece and tagline.
108 It is customary to put the @code{\header} at the top of the file.
111 @node Pitch names, , , Reference Manual
113 Note names and chord modifiers can be customised for nationalities.
114 languages and conventions. The syntax is as follows.
116 \pitchnames @keyindex{pitchnames} @var{scheme-alist}
117 \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist}
120 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
121 specific examples how to do this. tables can be tailored specified
122 using. Some national note names have been provided, see @ref{Other
125 A @code{\paper} block at top level sets the default paper block. A
126 @code{\midi} block at top level works similarly.
130 Identifier assignments may appear at top level. Semicolons are
131 forbidden after top level assignments.
135 @node Lexical conventions, , , Reference Manual
136 @section Lexical conventions
138 @cindex lexical conventions
142 @unnumberedsubsec Comments
149 A one line comment is introduced by a `@code{%}' character.
150 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
151 They cannot be nested.
153 @unnumberedsubsec Scheme
157 LilyPond contains a Scheme interpreter (the GUILE library) for
158 internal use. The interpreter is accessed by the pound sign:
160 Whereever the syntax allows Scheme expressions, you may enter one as
166 Evaluates the specified Scheme code. If this is used at toplevel, then
167 the result is discarded. Example:
169 \property Staff.TestObject \override #'symbol = #(+ 1 2)
172 (in this case, @code{\override} expects two Scheme expressions.
174 [refer appendix/ online intro on Scheme]
176 @unnumberedsubsec Keywords
180 Keywords start with a backslash, followed by a number of lower case
181 alphabetic characters. These are all the keywords.
184 apply arpeggio autochange spanrequest commandspanrequest
185 simultaneous sequential accepts alternative bar breathe
186 char chordmodifiers chords clef cm consists consistsend
187 context denies duration dynamicscript elementdescriptions
188 font grace header in lyrics key mark musicalpitch
189 time times midi mm name pitchnames notes outputproperty
190 override set revert partial paper penalty property pt
191 relative remove repeat addlyrics partcombine score
192 script stylesheet skip textscript tempo translator
196 @unnumberedsubsec Integers
200 Formed from an optional minus sign followed by digits. Arithmetic
201 operations cannot be done with integers, and integers cannot be mixed
204 @unnumberedsubsec Reals
209 Formed from an optional minus sign and a sequence of digits followed
210 by a @emph{required} decimal point and an optional exponent such as
211 @code{-1.2e3}. Reals can be built up using the usual operations:
212 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
213 `@code{/}@indexcode{/}', with parentheses for grouping.
215 A real constant can be followed by one of the dimension
218 @code{\mm}@keyindex{mm},
219 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
220 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
221 centimeters, respectively. This converts the number to a real that
222 is the internal representation of dimensions.
228 Begins and ends with the `@code{"}' character. To include a `@code{"}'
229 character in a string write `@code{\"}'. Various other backslash
230 sequences have special interpretations as in the C language. A string
231 that contains no spaces can be written without the quotes. See
232 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
233 depending on the situation. Strings can be concatenated with the
236 The tokenizer accepts the following commands. They have no grammatical
237 function, hence they can appear anywhere in the input.
240 \maininput@keyindex{maininput}
243 This command is used in init files to signal that the user file must
244 be read. This command cannot be used in a user file.
246 @unnumberedsubsec file inclusion
249 \include@keyindex{include} @var{file}
252 Include @var{file}. The argument @var{file} may be a quoted string (an
253 unquoted string will not work here!) or a string identifier. The full
254 filename including the @file{.ly} extension must be given,
256 @unnumberedsubsec Version information
259 \version@keyindex{version} @var{string} ;
262 Specify the version of LilyPond that a file was written for. The
263 argument is a version string in quotes, for example @code{"1.2.0"}.
264 This is used to detect invalid input, and to aid
265 @code{convert-ly}, a tool that automatically upgrades input files.
269 @cindex other languages
271 @node Other languages, , , Reference Manual
273 Note name definitions have been provided in various languages.
274 Simply include the language specific init file. For example:
275 `@code{\include "english.ly"}'. The available language files and the
276 names they define are:
279 Note Names sharp flat
280 nederlands.ly c d e f g a bes b -is -es
281 english.ly c d e f g a bf b -s/-sharp -f/-flat
282 deutsch.ly c d e f g a b h -is -es
283 norsk.ly c d e f g a b h -iss/-is -ess/-es
284 svenska.ly c d e f g a b h -iss -ess
285 italiano.ly do re mi fa sol la sib si -d -b
286 catalan.ly do re mi fa sol la sib si -d/-s -b
289 Pitch names can be redefined using the @code{\pitchnames} command, see
292 @cindex Lexical Modes
296 @node Lexical modes, , , Reference Manual
298 To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
299 special input modes on top of the default mode. In each mode, words
300 are identified on the input. If @code{"word"} is encountered, it is
301 treated as a string. If @code{\word} is encountered, it is treated as
302 a keyword or as an identifier. The behavior of the modes differs in
303 two ways: Different modes treat unquoted words differently, and
304 different modes have different rules for deciding what is a word.
310 At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
311 mode, a word is an alphabetic character followed by alphanumeric
312 characters. If @code{word} is encountered on the input it is
318 Note mode is introduced by the keyword
319 @code{\notes}@keyindex{notes}. In Note mode, words can only
320 contain alphabetic characters. If @code{word} is encountered,
321 LilyPond first checks for a notename of @code{word}. If no
322 notename is found, then @code{word} is treated as a string.
324 Since combinations of numbers and dots are used for indicating
325 durations, it is not possible to enter real numbers in this mode.
330 Chord mode is introduced by the keyword
331 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
332 words are also looked up in a chord modifier table (containing
333 @code{maj}, @code{dim}, etc).
335 Since combinations of numbers and dots are used for indicating
336 durations, you can not enter real numbers in this mode. Dashes
337 and carets are used to indicate chord additions and subtractions,
338 so scripts can not be entered in Chord mode.
343 Lyrics mode is introduced by the keyword
344 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
345 easy to include punctuation and diacritical marks in words. A
346 word in Lyrics mode begins with: an alphabetic character,
347 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
348 control characters @code{^A} through @code{^F}, @code{^Q} through
349 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
350 over 127, or a two-character combination of a backslash followed
351 by one of `@code{`}', `@code{'}', `@code{"}', or
352 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
353 enter lyrics in @TeX{} format or a standard encoding without
354 needing quotes. The precise definition of this mode indeed is
355 ludicrous. This will remain so until the authors of LilyPond
356 acquire a deeper understanding of character encoding, or someone
357 else steps up to fix this.}
359 Subsequent characters of a word can be any character that is not
360 a digit and not white space. One important consequence of this
361 is that a word can end with `@code{@}}', which may be confusing if
362 you thought the closing brace was going to terminate Lyrics
363 mode.@footnote{LilyPond will issue a warning, though.} Any
364 `@code{_}' character which appears in an unquoted word is
365 converted to a space. This provides a mechanism for introducing
366 spaces into words without using quotes. Quoted words can also be
367 used in Lyrics mode to specify words that cannot be written with
368 the above rules. Here are some examples. Not all of these words
369 are printable by @TeX{}.
373 2B_||_!2B % not a word because it starts with a digit
374 ``Hello'' % not a word because it starts with `
375 _ _ _ _ % 4 words, each one a space
378 Since combinations of numbers and dots are used for indicating
379 durations, you can not enter real numbers in this mode.
382 [todo: include short table showign differences]
384 @node Types, , , Reference Manual
389 [say something about types]
391 All of the information in a LilyPond input file, is represented as a
392 Scheme value. In addition to normal Scheme data types (such as pair,
393 number, boolean, etc.), LilyPond has a number of specialized data types,
398 @item Music: see @ref{Music expressions}
400 @item Translator_def:
401 See section @ref{contextdefs} for more information
406 @item Music_output_def (TODO: this is not really a Scheme object
407 yet. Nevertheless, you can use identifiers to make references to them )
408 @item Moment (rational number)
411 LilyPond also includes some transient object types. Objects of these
412 types are built during a LilyPond run, and do not `exist' per se within
413 your input file. These objects are created as a result of your input
414 file, so you can include commands in the input to manipulate them,
415 during a lilypond run.
418 @item Grob: short for Graphical object. See @ref{Grobs}.
419 @item Molecule: device-independent page output object,
420 including dimensions. Produced by some Grob functions
422 @item Translator: object that produces audio objects or Grobs.
423 @item Font_metric: object representing a font. (Not yet user
426 @c @item Audio_element: (todo, smobme)
429 Identifiers allow objects to be assigned to names during the parse
430 stage. To assign an identifier, you use `@var{name}=@var{value}' and to
431 refer to an identifier, you preceed its name with a backslash:
432 `@code{\}@var{name}'. Identifier assignments must appear at top level
433 in the @emph{Lilypond} file. Semicolons are forbidden after assignments
434 appearing at top level but they are obligatory after assignments
435 appearing in the @code{\paper} block, see Section @ref{Page layout}.
437 @var{value} is any valid Scheme value or any of the input-types listed
440 An identifier can be created with any string for its name, but you will
441 only be able to refer to identifiers whose names begin with a letter,
442 being entirely alphanumeric. It is impossible to refer to an identifier
443 whose name is the same as the name of a keyword.
445 The right hand side of an identifier assignment is parsed completely
446 before the assignment is done, so it is allowed to redefine an
447 identifier in terms of its old value, e.g.
453 When an identifier is referenced, the information it points to is
454 copied. For this reason, an identifier reference must always be the
455 first item in a block.
459 \paperIdent % wrong and invalid
463 \paperIdent % correct
469 @node Music expressions, , , Reference Manual
470 @section Music expressions
472 @cindex music expressions
474 Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
475 lyric syllables are music expressions (the atomic
477 @cindex atomic music expressions
478 and you can combine music expressions to form new ones. This example
479 forms a compound expressions out of the quarter @code{c} note and a
483 \sequential @{ c4 d4 @}
486 The meaning of this compound expression is to play the `@code{c}'
487 first, and then the `@code{d}' (as opposed to playing them
488 simultaneously, for instance).
490 Atomic music expression are discussed in
491 subsection @ref{Atomic music expressions}. Compound music expressions are
492 discussed in subsection @ref{Compound music expressions}.
496 @node Atomic music expressions, , , Reference Manual
497 @section Atomic music expressions
507 The syntax for pitch specification is
511 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
514 @var{octave} is specified by an integer, zero for the octave
515 containing middle C. @var{note} is a number from 0 to 7, with 0
516 corresponding to C and 7 corresponding to B. The shift is zero for a
517 natural, negative to add flats, or positive to add sharps.
519 In Note and Chord mode, pitches may be designated by names. See
520 section @ref{Other languages} for pitch names in different languages.
522 The syntax for duration specification is
525 \duration@keyindex{duration}
526 @{ @var{length} @var{dotcount} @}
529 @var{length} is the negative logarithm (base 2) of the duration:
530 1 is a half note, 2 is a quarter note, 3 is an eighth
531 note, etc. The number of dots after the note is given by
534 In Note, Chord, and Lyrics mode, durations may be designated by
538 @node Note specification, , , Reference Manual
540 @cindex note specification
544 @cindex entering notes
546 A note specification has the form
549 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
552 The pitch of the note is specified by the note's name.
555 The default names are the Dutch note names. The notes are specified
556 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
557 octave below middle C and the letters span the octave above that C.
559 @cindex notenames!Dutch
560 a sharp is formed by adding `@code{-is}' to the end of a pitch name. A
561 flat is formed by adding `@code{-es}'. Double sharps and double flats
562 are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}'
563 and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch,
564 but both forms will be accepted.
566 LilyPond has predefined sets of notenames for various languages. See
567 @ref{Other languages}.
571 The optional octave specification takes the form of a series of
572 single quote (`@code{'}@indexcode{'}') characters or a series of comma
573 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
574 octave; each @code{,} lowers the pitch by an octave.
576 @lilypond[fragment,verbatim,center]
577 c' d' e' f' g' a' b' c''
580 @lilypond[fragment,verbatim,center]
581 cis' dis' eis' fis' gis' ais' bis'
584 @lilypond[fragment,verbatim,center]
585 ces' des' es' fes' ges' as' bes'
588 @lilypond[fragment,verbatim,center]
589 cisis' eisis' gisis' aisis' beses'
592 @lilypond[fragment,verbatim,center]
593 ceses' eses' geses' ases' beses'
596 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
597 will determine what accidentals to typeset depending on the key and
598 context. A reminder accidental
599 @cindex reminder accidental
601 forced by adding an exclamation mark `@code{!}' after the pitch. A
602 cautionary accidental,
603 @cindex cautionary accidental
605 accidental within parentheses can be obtained by adding the question
606 mark `@code{?}@indexcode{?}' after the pitch.
608 @lilypond[fragment,verbatim,center]
609 cis' d' e' cis' c'? d' e' c'!
615 Durations are entered as their reciprocal values. For notes longer
616 than a whole note, use identifiers.
622 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
631 \notes \relative c'' {
633 a1 a2 a4 a8 a16 a32 a64 a64
638 \remove "Clef_engraver";
639 \remove "Staff_symbol_engraver";
650 r1 r2 r4 r8 r16 r32 r64 r64
659 \notes \relative c'' {
661 r1 r2 r4 r8 r16 r32 r64 r64
664 loose_column_distance = 2.5 * \staffspace;
668 \remove "Clef_engraver";
669 \remove "Staff_symbol_engraver";
670 \remove "Bar_engraver";
677 If the duration is omitted then it is set equal to the previous
678 duration. If there is no previous duration, a quarter note is
679 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
680 to obtain dotted note lengths.
682 @lilypond[fragment,verbatim,center]
686 You can alter the length of duration by writing
687 `@code{*}@var{fraction}' after it. This will not affect the
688 appearance of note heads or rests.
691 Rests are entered like notes, with note name `@code{r}@indexcode{r}', or
692 `@code{R}@indexcode{R}'. There is also a note name
693 `@code{s}@indexcode{s}', which produces a space of the specified
694 duration. `@code{R}' is specifically meant for entering parts: the
695 @code{R} rest can expand to fill a score with rests, or it can be
696 printed as a single multimeasure rest.
698 You can control the expansion by setting the property
699 @code{Score.skipBars}. If this is set to true, Lily will not expand
700 empty measures, and the multimeasure rests automatically adds the
703 Note that there is currently no way to condense multiple rests into a
704 single multimeasure rest.
708 @cindex lyrics expressions
710 Syllables are entered like notes, with pitches replaced by text. For
711 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
712 with quarter note duration. Note that the hyphen has no special
713 meaning for lyrics, and does not introduce special symbols. See
714 section @ref{Lexical modes} for a description of what is interpreted as
717 Spaces can be introduced into a lyric either by using quotes
718 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
719 not4}'. All unquoted underscores are converted to spaces. Printing
720 lyrics is discussed in section @ref{lyricprint}.
727 \property@keyindex{property}
728 @var{contextname}.@var{propname} = @var{value}
731 Sets the @var{propname} property of the context @var{contextname} to
732 the specified @var{value}. All three arguments are strings.
733 Depending on the context, it may be necessary to quote the strings or
734 to leave space on both sides of the dot.
738 @cindex translator switches
741 \translator@keyindex{translator}
742 @var{contexttype} = @var{name}
745 A music expression indicating that the context which is a direct
746 child of the a context of type @var{contexttype} should be shifted to
747 a context of type @var{contexttype} and the specified name.
749 Usually this is used to switch staffs in Piano music, e.g.
752 \translator Staff = top @var{Music}
756 @cindex output properties
759 These allow you to tweak what is happening in the back-end
760 directly. If you want to control every detail of the output
761 formatting, this is the feature to use. The downside to this is that
762 you need to know exactly how the backend works. Example:
765 @lilypond[fragment,verbatim]
767 \context Staff \outputproperty
768 #(make-type-checker 'Note_head)
769 #'extra-offset = #'(5.0 . 7.5)
773 This selects all note heads occurring at current staff level, and sets
774 the extra-offset of those heads to (5,7.5), shifting them up and
777 Use of this feature is entirely on your own risk: if you use this, the
778 result will depend very heavily on the implementation of the backend,
779 which we change regularly and unscrupulously.
784 Commands are music expressions that have no duration.
788 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
791 Change the key signature. @var{type} should be
792 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
793 @var{pitch}-major or @var{pitch}-minor, respectively. The second
794 argument is optional; the default is major keys. The @var{\context}
795 argument can also be given as an integer, which tells the number of
796 semitones that should be added to the pitch given in the subsequent
797 @code{\key}@keyindex{key} commands to get the corresponding major key,
798 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
799 mode names @code{\ionian}@keyindex{ionian},
800 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
801 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
802 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
807 \mark@keyindex{mark} @var{unsigned};
811 Prints a mark over or under the staff. You must add
812 @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for
815 @node barlines, , , Reference Manual
818 \bar@keyindex{bar} @var{bartype};
821 This is a short-cut for doing
823 \property Score.whichBar = @var{bartype}
826 You are encouraged to use @code{\repeat} for repetitions. See
827 @ref{Repeats}, and the documentation of @code{whichBar} in
828 @ref{(lilypond-internals)LilyPond context properties}.
832 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
835 A short-cut for doing
837 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
840 See the documentation of @code{timeSignatureFraction}
844 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
847 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
848 requests output with 76 quarter notes per minute.
851 \partial@keyindex{partial} @var{duration} @code{;}
857 \property Score.measurePosition = @var{length of duration}
860 See the documentation of @code{measurePosition}.
868 @code{|}@indexcode{|}
873 @cindex shorten measures
877 `@code{|}' is a bar check. Whenever a bar check is encountered during
878 interpretation, a warning message is issued if it doesn't fall at a
879 measure boundary. This can help you finding errors in the input.
880 Depending on the value of @code{barCheckNoSynchronize}
881 @indexcode{barCheckNoSynchronize} The beginning of the measure will be
882 relocated, so this can also be used to shorten measures.
886 \penalty@keyindex{penalty} @var{int} @code{;}
889 Discourage or encourage line breaks. See identifiers
890 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
891 section [on identifiers] [FIXME].
894 \clef@keyindex{clef} @var{clefname} @code{;}
900 \property Clef.clefGlyph = @var{symbol associated with clefname}
901 \property Clef.clefPosition = @var{clef Y-position for clefname}
902 \property Clef.clefOctavation = @var{extra pitch of clefname}
905 Supported clef-names include
911 \skip@keyindex{skip} @var{duration} @code{;}
914 Skips the amount of time specified by @var{duration}. If no other
915 music is played, a gap will be left for the skipped time with no
916 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
917 this has the same effect as the space rest `@code{s}'.
922 @node Manual beams, , , Reference Manual
924 A beam is specified by surrounding the beamed notes with brackets
925 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
927 @lilypond[fragment,verbatim,center]
928 [a'8 a'] [a'16 a' a' a']
931 Some more elaborate constructions:
933 @lilypond[fragment,verbatim,center]
934 [a'16 <a' c''> c'' <a' c''>]
935 \times 2/3 { [e'8 f' g'] }
938 Beaming can be generated automatically; see section @ref{autobeam}.
941 To place tremolo marks between notes, use @code{\repeat} with tremolo
943 @cindex tremolo beams
944 To create tremolo beams on a single note, simply attach
945 `@code{:}@var{length}' to the note itself.
947 @lilypond[fragment,verbatim,center]
948 \repeat "tremolo" 8 { c16 d16 }
949 \repeat "tremolo" 4 { c16 d16 }
952 @lilypond[fragment,verbatim,center]
957 @cindex --@@@code{-}@code{-}
965 The syntax for an extender mark is `@code{__}'. This syntax can only
966 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
967 a hyphen that will be printed between two lyric syllables) is
973 A tie connects two adjacent note heads of the same pitch. When used
974 with chords, it connects all of the note heads whose pitches match.
975 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
976 If you try to tie together chords which have no common pitches, a
977 warning message will appear and no ties will be created.
979 @lilypond[fragment,verbatim,center]
980 e' ~ e' <c' e' g'> ~ <c' e' g'>
985 [TODO: explain Requests]
988 @cindex articulations
994 A variety of symbols can appear above and below notes to indicate
995 different characteristics of the performance. These symbols can be
996 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
997 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
998 forced to appear above or below the note by writing
999 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1000 respectively. Here is a chart showing symbols above notes, with the
1001 name of the corresponding symbol appearing underneath.
1007 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1008 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1009 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1010 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1011 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1012 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1013 c''-\thumb c''-\segno c''-\coda
1015 \context Lyrics \lyrics {
1016 accent__ marcato__ staccatissimo__ fermata
1017 stopped__ staccato__ tenuto__ upbow
1018 downbow__ lheel__ rheel__ ltoe
1019 rtoe__ turn__ open__ flageolet
1020 reverseturn__ trill__ prall__ mordent
1021 prallprall__ prallmordent__ uprall__ downprall
1022 thumb__ segno__ coda
1026 linewidth = 5.875\in;
1033 In addition, it is possible to place arbitrary strings of text or
1034 @TeX{} above or below notes by using a string instead of an
1035 identifier: `@code{c^"text"}'. Fingerings
1038 placed by simply using digits. All of these note ornaments appear in
1039 the printed output but have no effect on the MIDI rendering of the
1042 To save typing, fingering instructions (digits 0 to 9 are
1043 supported) and single characters shorthands exist for a few
1050 \property Voice.textStyle = typewriter
1056 c''4-^_"c-\\^{ }" s4
1063 linewidth = 5.875 \in;
1070 Dynamic marks are specified by using an identifier after a note:
1071 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1072 The available dynamic marks are:
1073 @code{\ppp}@keyindex{ppp},
1074 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1075 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1076 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1077 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1078 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1079 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1080 @code{\rfz}@keyindex{rfz}.
1085 \textscript@keyindex{textscript} @var{text} @var{style}
1088 Defines a text to be printed over or under a note. @var{style} is a
1089 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1090 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1092 You can attach a general textscript request using this syntax:
1097 c4-\textscript "6" "finger"
1098 c4-\textscript "foo" "normal"
1103 This is equivalent to `@code{c4-6 c4-"foo"}'.
1110 \script@keyindex{script} @var{alias}
1113 Prints a symbol above or below a note. The argument is a string
1114 which points into the script-alias table defined in @file{script.scm}.
1115 The scheme definitions specify whether the symbol follows notes into
1116 the staff, dependence of symbol placement on staff direction, and a
1117 priority for placing several symbols over one note. Usually the
1118 @code{\script}@keyindex{script} keyword is not used directly. Various
1119 helpful identifier definitions appear in @file{script.ly}.
1124 Slurs connects chords and try to avoid crossing stems. A slur is
1125 started with `@code{(}' and stopped with `@code{)}'. The
1126 starting `@code{(}' appears to the right of the first note in
1127 the slur. The terminal `@code{)}' appears to the left of the
1128 first note in the slur. This makes it possible to put a note in
1129 slurs from both sides:
1131 @lilypond[fragment,verbatim,center]
1132 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1138 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1139 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1140 @code{\decr}@keyindex{decr} and terminated with
1141 @code{\rced}@keyindex{rced}. There are also shorthands for these
1142 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1143 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1144 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1145 must go before the last note of the dynamic mark whereas @code{\rc}
1146 and @code{\rced} go after the last note. Because these marks are
1147 bound to notes, if you want to get several marks during one note, you
1148 must use spacer notes.
1150 @lilypond[fragment,verbatim,center]
1151 c'' \< \! c'' d'' \decr e'' \rced
1152 < f''1 { s4 \< \! s2 \> \! s4 } >
1158 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1161 Define a spanning request. The @var{startstop} parameter is either -1
1162 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1163 @var{type} is a string that describes what should be started.
1164 Supported types are @code{crescendo}, @code{decrescendo},
1165 @code{beam}, @code{slur}. This is an internal command. Users should
1166 use the shorthands which are defined in the initialization file
1169 You can attach a (general) span request to a note using
1171 @lilypond[fragment,verbatim,center]
1172 c'4-\spanrequest \start "slur"
1173 c'4-\spanrequest \stop "slur"
1176 The slur syntax with parentheses is a shorthand for this.
1180 @cindex tremolo marks
1182 @node stem tremolo, , , Reference Manual
1184 Tremolo marks can be printed on a single note by adding
1185 `@code{:}[@var{length}]' after the note. The length must be at
1186 least 8. A @var{length} value of 8 gives one line across
1187 the note stem. If the length is omitted, then the last value is
1188 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1191 @lilypond[verbatim,fragment,center]
1197 @node Compound music expressions, , , Reference Manual
1198 @section Compound music expressions
1200 @cindex compound music expressions
1202 Music expressions are compound data structures. You can nest music
1203 expressions any way you like. This simple example shows how three
1204 chords can be expressed in two different ways:
1206 @lilypond[fragment,verbatim,center]
1207 \notes \context Staff {
1209 <a c'> <b d' > <c' e'>
1210 < { a b c' } { c' d' e' } >
1214 @cindex context selection
1215 @c @keyindex{context}
1218 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1221 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1222 If the context does not exist, it will be created. The new context
1223 can optionally be given a name.
1229 Mode switching keywords form compound music expressions: @code{\notes}
1230 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1231 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1232 These expressions do not add anything to the meaning of their
1233 arguments. They are just a way to indicate that the arguments should
1234 be parsed in indicated mode. See @ref{Lexical modes} for more
1235 information on modes.
1237 @cindex sequential music
1243 \sequential@keyindex{sequential}
1244 @code{@{} @var{musicexprlist} @code{@}}
1247 This means that list should be played or written in sequence, i.e.,
1248 the second after the first, the third after the second. The duration
1249 of sequential music is the the sum of the durations of the elements.
1250 There is a shorthand, which leaves out the keyword:
1254 @code{@{} @var{musicexprlist} @code{@}}
1259 @cindex simultaneous music
1266 \simultaneous@keyindex{simultaneous}
1267 @code{@{} @var{musicexprlist} @code{@}}
1270 It constructs a music expression where all of its arguments start at
1271 the same moment. The duration is the maximum of the durations of the
1272 elements. The following shorthand is a common idiom:
1276 @code{<} @var{musicexprlist} @code{>}
1279 If you try to use a chord as the first thing in your score, you might
1280 get multiple staffs instead of a chord.
1282 @lilypond[verbatim,center]
1291 This happens because the chord is interpreted by a score context.
1292 Each time a note is encountered a default Voice context (along with a
1293 Staff context) is created. The solution is to explicitly instantiate
1296 @lilypond[verbatim,center]
1298 \notes\context Voice <c''4 e''>
1307 @cindex relative pitch specification
1309 @node relative, , , Reference Manual
1311 It is easy to get confused by octave changing marks and accidentally
1312 putting a pitch in the wrong octave. A much better way of entering a
1313 note's octave is `the relative octave' mode.
1317 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1320 The octave of notes that appear in @var{musicexpr} are calculated as
1321 follows: If no octave changing marks are used, the basic interval
1322 between this and the last note is always taken to be a fourth or
1323 less.@footnote{The interval is determined without regarding
1324 accidentals. A @code{fisis} following a @code{ceses} will be put above
1325 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1326 can then be added to raise or lower the pitch by an extra octave.
1327 Upon entering relative mode, an absolute starting pitch must be
1328 specified that will act as the predecessor of the first note of
1331 Entering scales is straightforward in relative mode.
1333 @lilypond[fragment,verbatim,center]
1339 And octave changing marks are used for intervals greater than a fourth.
1341 @lilypond[fragment,verbatim,center]
1343 c g c f, c' a, e'' }
1346 If the preceding item is a chord, the first note of the chord is used
1347 to determine the first note of the next chord. But other notes
1348 within the second chord are determined by looking at the immediately
1351 @lilypond[fragment,verbatim,center]
1359 The pitch after the @code{\relative} contains a notename. To parse
1360 the pitch as a notename, you have to be in note mode, so there must
1361 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1364 The relative conversion will not affect @code{\transpose} or
1365 @code{\relative} sections in its argument. If you want to use
1366 relative within transposed music, you must place an additional
1367 @code{\relative} inside the @code{\transpose}.
1369 It is strongly recommended to use relative pitch mode: less work,
1370 less error-prone, and more readable.
1374 Chord names are a way to generate simultaneous music expressions that
1375 correspond with traditional chord names. It can only be used in
1376 Chord mode (see section @ref{Lexical modes}).
1380 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1383 @var{tonic} should be the tonic note of the chord, and @var{duration}
1384 is the chord duration in the usual notation. There are two kinds of
1385 modifiers. One type is @emph{chord additions}, which are obtained by
1386 listing intervals separated by dots. An interval is written by its
1387 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1388 lowering by half a step. Chord additions has two effects: It adds
1389 the specified interval and all lower odd numbered intervals to the
1390 chord, and it may lower or raise the specified interval. Intervals
1391 must be separated by a dot (`@code{.}').
1395 @lilypond[fragment,verbatim]
1399 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1406 The second type of modifier that may appear after the `@code{:}' is a
1407 named modifier. Named modifiers are listed in the file
1408 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1409 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1410 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1411 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1412 which replaces the 5th with a 4th.
1416 @lilypond[fragment,verbatim]
1419 c1:m c:min7 c:maj c:aug c:dim c:sus
1427 Chord subtractions are used to eliminate notes from a chord. The
1428 notes to be subtracted are listed after a `@code{^}' character,
1431 @lilypond[fragment,verbatim,center]
1439 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1440 the name of a single note to a chord. This has the effect of
1441 lowering the specified note by an octave so it becomes the lowest
1442 note in the chord. If the specified note is not in the chord, a
1443 warning will be printed.
1445 @lilypond[fragment,verbatim,center]
1454 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1455 the name of a single note to a chord. This has the effect of
1456 adding the specified note to the chord, lowered by an octave,
1457 so it becomes the lowest note in the chord.
1459 @lilypond[fragment,verbatim,center]
1468 Throughout these examples, chords have been shifted around the staff
1469 using @code{\transpose}.
1471 You should not combine @code{\relative} with named chords.
1477 Tuplets are made out of a music expression by multiplying their
1478 duration with a fraction.
1482 \times@keyindex{times} @var{fraction} @var{musicexpr}
1485 The duration of @var{musicexpr} will be multiplied by the fraction.
1486 In print, the fraction's denominator will be printed over the notes,
1487 optionally with a bracket. The most common tuplet is the triplet in
1488 which 3 notes have the length of 2, so the notes are 2/3 of
1489 their written length:
1491 @lilypond[fragment,verbatim,center]
1492 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1501 \grace@keyindex{grace} @var{musicexpr}
1504 A grace note expression has duration 0; the next real note is
1505 assumed to be the main note.
1507 You cannot have the grace note after the main note, in terms of
1508 duration, and main notes, but you can typeset the grace notes to the
1509 right of the main note using the property
1510 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1512 When grace music is interpreted, a score-within-a-score is set up:
1513 @var{musicexpr} has its own time bookkeeping, and you could (for
1514 example) have a separate time signature within grace notes. While in
1515 this score-within-a-score, you can create notes, beams, slurs, etc.
1516 Unbeamed eighth notes and shorter by default have a slash through the
1517 stem. This behavior can be controlled with the
1518 @code{flagStyle}@indexcode{flagStyle} property.
1522 @lilypond[fragment,verbatim]
1524 \grace c8 c4 \grace { [c16 c16] } c4
1525 \grace { \property Grace.flagStyle = "" c16 } c4
1531 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1535 @code{\grace @{ \grace c32 c16 @} c4}
1538 may result in run-time errors of LilyPond. Since the meaning of such
1539 a construct is unclear, we don't consider this a loss. Similarly,
1540 juxtaposing two @code{\grace} sections is syntactically valid, but
1541 makes no sense and may cause runtime errors.
1543 Ending a staff or score with grace notes may also generate a run-time
1544 error, since there will be no main note to attach the grace notes to.
1550 @node Repeats, , , Reference Manual
1552 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1553 keyword. Since repeats look and sound differently when played or
1554 printed, there are a few different variants of repeats.
1558 Repeated music is fully written (played) out. Useful for MIDI
1562 This is the normal notation: Repeats are not written out, but
1563 alternative endings (voltas) are printed, left to right.
1566 Alternative endings are written stacked, which is useful for
1570 The syntax for repeats is
1574 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1577 If you have alternative endings, you may add
1581 \alternative@keyindex{alternative}
1582 @code{@{} @var{alternative1}
1584 @var{alternative3} @dots{} @code{@}}
1587 where each @var{alternative} is a Music expression.
1589 Normal notation repeats are used like this:
1593 @lilypond[fragment,verbatim]
1595 \repeat volta 2 { c'4 d' e' f' }
1596 \repeat volta 2 { f' e' d' c' }
1601 With alternative endings:
1605 @lilypond[fragment,verbatim]
1607 \repeat volta 2 {c'4 d' e' f'}
1608 \alternative { {d'2 d'} {f' f} }
1613 Folded repeats look like this:@footnote{Folded repeats offer little
1614 more over simultaneous music. However, it is to be expected that
1615 more functionality -- especially for the MIDI backend -- will be
1620 @lilypond[fragment,verbatim]
1622 \repeat fold 2 {c'4 d' e' f'}
1623 \alternative { {d'2 d'} {f' f} }
1630 @lilypond[fragment,verbatim]
1634 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1635 \alternative { { g4 g g } { a | a a a a | b1 } }
1642 If you don't give enough alternatives for all of the repeats, then
1643 the first alternative is assumed to be repeated often enough to equal
1644 the specified number of repeats.
1648 @lilypond[fragment,verbatim]
1651 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1652 \alternative { { g4 g g }
1653 {\partial 1; e4 e e }
1654 {\partial 1; a a a a | b1 } }
1661 It is possible to nest @code{\repeat}. This is not entirely
1662 supported: the notes will come be in the right places, but the repeat
1667 @cindex transposition of pitches
1669 @node transpose, , , Reference Manual
1671 A music expression can be transposed with
1672 @code{\transpose}@keyindex{transpose}. The syntax is
1676 \transpose @var{pitch} @var{musicexpr}
1679 This means that middle C in @var{musicexpr} is transposed to
1682 @code{\transpose} distinguishes between enharmonic pitches: both
1683 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1684 a tone. The first version will print sharps and the second version
1689 @lilypond[fragment,verbatim]
1692 { \key e \major; c d e f }
1694 \transpose des'' { \key e \major; c d e f }
1695 \transpose cis'' { \key e \major; c d e f }
1701 If you want to use both @code{\transpose} and @code{\relative}, then
1702 you must use @code{\transpose} first. @code{\relative} will have no
1703 effect music that appears inside a @code{\transpose}.
1707 @cindex automatic lyric durations
1709 If you have lyrics that are set to a melody, you can import the
1710 rhythm of that melody into the lyrics using @code{\addlyrics}.
1711 @keyindex{addlyrics} The syntax for this is
1715 \addlyrics @var{musicexpr1 musicexpr2}
1718 This means that both @var{musicexpr1} and @var{musicexpr2} are
1719 interpreted, but that every non-command atomic music expression
1720 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1721 of @var{musicexpr1}.
1723 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1724 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1729 @lilypond[verbatim,fragment]
1732 \property Voice.automaticMelismata = ##t
1733 c8 () cis d8. e16 f2
1735 \context Lyrics \lyrics {
1741 You should use a single rhythm melody, and single rhythm lyrics (a
1742 constant duration is the obvious choice). If you do not, you will get
1743 undesired effects when using multiple stanzas:
1747 @lilypond[verbatim,fragment]
1750 c8 () cis d8. e16 f2
1752 \context Lyrics \lyrics
1759 It is valid (but probably not very useful) to use notes instead of
1760 lyrics for @var{musicexpr2}.
1765 @node Ambiguities, , , Reference Manual
1766 @section Ambiguities
1770 The grammar contains a number of ambiguities.@footnote{The authors
1771 hope to resolve them at a later time.}
1774 @item The assignment
1780 can be interpreted as making a string identifier @code{\foo}
1781 containing @code{"bar"}, or a music identifier @code{\foo}
1782 containing the syllable `bar'.
1784 @item The assignment
1790 can be interpreted as making an integer identifier
1791 containing -6, or a Request identifier containing the
1792 fingering `6' (with neutral direction).
1794 @item If you do a nested repeat like
1806 then it is ambiguous to which @code{\repeat} the
1807 @code{\alternative} belongs. This is the classic if-then-else
1808 dilemma. It may be solved by using braces.
1810 @item (an as yet unidentified ambiguity :-)
1815 @node Notation conversion specifics, , , Reference Manual
1816 @section Notation conversion specifics
1820 @cindex automatic beam generation
1822 @node autobeam, , , Reference Manual
1826 By default, LilyPond will generate beams automatically. This feature
1827 can be disabled by setting the
1828 @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1.
1829 It can be overridden for specific cases by specifying explicit beams.
1831 A large number of Voice properties are used to decide how to generate
1832 beams. Their default values appear in @file{auto-beam-settings.ly}. In
1833 general, beams can begin anywhere, but their ending location is
1834 significant. Beams can end on a beat, or at durations specified by the
1835 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end
1836 beams every quarter note, for example, you could set
1837 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to
1838 `@code{"1/4"}'. To end beams at every three eighth notes you would set
1839 it to `@code{"3/8"}'. The same syntax can be used to specify beam
1840 starting points using
1841 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1843 To allow different settings for different time signatures, these
1844 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1845 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1846 to specify beams ending only for 6/8 time you would use the property
1847 @code{Voice.time6_8beamAutoEnd}. To allow different endings for notes
1848 of different durations, the duration can be tacked onto the end of the
1849 property. To specify beam endings for beams that contain 32nd notes,
1850 you would use @code{Voice.beamAutoEnd_32}.
1858 @cindex printing!chord names
1860 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1861 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1862 either using the notation described above, or directly using
1867 @lilypond[fragment,verbatim]
1869 \context ChordNames {
1870 \chords{a b c} \notes{<d f g> <e g b>}
1872 \context Staff \notes {
1880 LilyPond examines chords specified as lists of notes to determine a
1881 name to give the chord. By default, LilyPond will not try to
1882 identify chord inversions:
1884 @lilypond[fragment,verbatim,center]
1886 \context ChordNameVoice \notes {
1889 \context Thread \notes {
1895 If you want inversions to be recognized, you must set the property
1896 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1898 @lilypond[fragment,verbatim,center]
1900 \property Score.chordInversion = ##t
1901 \context ChordNameVoice \notes {
1904 \context Thread \notes {
1914 @cindex printing!lyrics
1916 @node lyricprint, , , Reference Manual
1918 Lyric syllables must be interpreted within a @code{Lyrics} context
1920 @cindex context!Lyrics
1923 Here is a full example:
1930 \notes \transpose c'' {
1932 e f g2 | e4 f g2 \bar "|.";
1934 \context Lyrics \lyrics {
1935 Va-4 der Ja- cob Va- der Ja- cob
1936 Slaapt gij nog?2 Slaapt4 gij nog?2
1944 You may want a continuous line after the syllables to show melismata.
1945 To achieve this effect, add a `@code{__}' lyric as a separate word
1946 after the lyric to be extended. This will create an extender, a line
1947 that extends over the entire duration of the lyric. This line will
1948 run all the way to the start of the next lyric, so you may want to
1949 shorten it by using a blank lyric (using `@code{_}').
1956 \notes \relative c'' {
1957 a4 () b () c () d | c () d () b () a | c () d () b () a
1959 \context Lyrics \lyrics {
1960 foo1 __ | bar2. __ _4 | baz1 __
1969 If you want to have hyphens centered between syllables (rather than
1970 attached to the end of the first syllable) you can use the special
1971 `@code{-}@code{-}' lyric as a separate word between syllables. This
1972 will result in a hyphen which length varies depending on the space
1973 between syllables, and which will be centered between the syllables.
1981 \notes \transpose c'' {
1983 e f g2 | e4 f g2 \bar "|.";
1985 \context Lyrics \lyrics {
1986 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
1987 Slaapt gij nog?2 | Slaapt4 gij nog?2
1997 @node Notation Contexts, , , Reference Manual
1998 @section Notation Contexts
2000 @cindex notation contexts
2002 Notation contexts are objects that only exist during a run of
2003 LilyPond. During the interpretation phase of LilyPond, the Music
2004 expression contained in a @code{\score} block is interpreted in time
2005 order. This is the order in which humans read, play, and write
2008 A context is an object that holds the reading state of the
2009 expression; it contains information like
2012 @item What notes are playing at this point?
2013 @item What symbols will be printed at this point?
2014 @item In what style will they printed?
2015 @item What is the current key signature, time signature, point within
2019 Contexts are grouped hierarchically: A @code{Voice} context is
2020 contained in a @code{Staff} context (because a staff can contain
2021 multiple voices at any point), a @code{Staff} context is contained in
2022 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2023 these can all contain multiple staffs).
2025 Contexts associated with sheet music output are called @emph{notation
2026 contexts}, those for sound output are called playing contexts.
2028 Contexts are created either manually or automatically. Initially,
2029 the top level music expression is interpreted by the top level
2030 context (the @code{Score} context). When a atomic music expression
2031 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2032 set of contexts is created that can process these atomic expressions,
2038 \score @{ \notes < c4 > @}
2043 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2044 context. When the note `@code{c4}' itself is interpreted, a set of
2045 contexts is needed that will accept notes. The default for this is a
2046 @code{Voice} context, contained in a @code{Staff} context. Creation of
2047 these contexts results in the staff being printed.
2052 You can also create contexts manually, and you probably have to do so
2053 if you want to typeset complicated multiple part material. If a
2054 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2055 during the interpretation phase, the @var{musicexpr} argument will be
2056 interpreted with a context of type @var{name}. If you specify a name,
2057 the specific context with that name is searched.
2059 If a context of the specified type and name can not be found, a new
2060 one is created. For example,
2066 \notes \relative c'' {
2067 c4 <d4 \context Staff = "another" e4> f
2074 In this example, the @code{c} and @code{d} are printed on the
2075 default staff. For the @code{e}, a context Staff called
2076 `@code{another}' is specified; since that does not exist, a new
2077 context is created. Within @code{another}, a (default) Voice context
2078 is created for the @code{e4}. When all music referring to a
2079 context is finished, the context is ended as well. So after the
2080 third quarter, @code{another} is removed.
2082 Almost all music expressions inherit their interpretation context
2083 from their parent. In other words, suppose that the syntax for a
2088 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2091 When the interpretation of this music expression starts, the context
2092 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2095 Lastly, you may wonder, why this:
2101 \notes \relative c'' @{
2109 doesn't result in this:
2114 \notes \relative c'' {
2121 For the @code{c4}, a default @code{Staff} (with a contained
2122 @code{Voice}) context is created. After the @code{c4} ends, no
2123 music refers to this default staff, so it would be ended, with the
2124 result shown. To prevent this inconvenient behavior, the context to
2125 which the sequential music refers is adjusted during the
2126 interpretation. So after the @code{c4} ends, the context of the
2127 sequential music is also the default @code{Voice} context.
2128 The @code{d4} gets interpreted in the same context
2131 Properties that are set in one context are inherited by all of the
2132 contained contexts. This means that a property valid for the
2133 @code{Voice} context can be set in the @code{Score} context (for
2134 example) and thus take effect in all @code{Voice} contexts.
2136 Properties can be preset within the @code{\translator} block
2137 corresponding to the appropriate context. In this case, the syntax
2141 @var{propname} @code{=} @var{value}
2144 This assignment happens before interpretation starts, so a
2145 @code{\property} expression will override any predefined settings.
2147 The property settings are used during the interpretation phase. They
2148 are read by the LilyPond modules where interpretation contexts are
2149 built of. These modules are called @emph{translators}. Translators for
2150 notation are called @emph{engravers}, and translators for sound are
2151 called @emph{performers}.
2153 @mbinclude properties.itely
2155 @node Page layout, , , Reference Manual
2157 @subsection Paper block
2159 The most important output definition is the @code{\paper} block, for
2160 music notation. The syntax is
2163 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2166 where each of the items is one of
2169 @item An assignment. The assignment must be terminated by a
2172 @item A context definition. See section @ref{contextdefs} for
2173 more information on context definitions.
2182 A margin shape declaration. The syntax is
2186 \shape @var{indent1}@code{,} @var{width1}@code{,}
2187 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2192 Each pair of @var{indent} and @var{width} values is a dimension
2193 specifying how far to indent and how wide to make the line.
2194 The indentation and width of successive lines are specified by
2195 the successive pairs of dimensions. The last pair of
2196 dimensions will define the characeristics of all lines beyond
2197 those explicitly specified.
2200 @item \stylesheet declaration. Its syntax is
2202 \stylesheet @var{alist}
2205 See @file{font.scm} for details of @var{alist}.
2208 @subsection Paper variables
2212 The paper block has some variables you may want to use or change:
2215 @item @code{indent}@indexcode{indent}
2216 The indentation of the first line of music.
2218 @item @code{staffspace}@indexcode{staffspace}
2219 The distance between two staff lines, calculated from the center
2220 of the lines. You should use either this or @code{rulethickness}
2221 as a unit for distances you modify.
2223 @item @code{linewidth}@indexcode{linewidth}
2224 Sets the width of the lines. If set to -1.0, a single
2225 unjustified line is produced.
2227 @item @code{textheight}@indexcode{textheight}
2228 Sets the total height of the music on each page. Only used by
2231 @item @code{interscoreline}@indexcode{interscoreline}
2232 Sets the spacing between the score lines. Defaults to 16 pt.
2234 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2235 If set to a positive number, the distance between the score
2236 lines will stretch in order to fill the full page. In that
2237 case @code{interscoreline} specifies the minimum spacing.
2240 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2241 Determines the thickness of staff lines, and also acts as a scaling
2242 parameter for other line thicknesses.
2246 @subsection Line breaks
2249 @cindex breaking lines
2251 Line breaks are normally computed automatically. They are chosen such
2252 that the resulting spacing has low variation, and looks neither cramped
2255 Occasionally you might want to override the automatic breaks; you can do
2256 this by specifying @code{\break} (see also @ref{Pre-defined
2257 Identifiers}). This will force a line break at this point. Do remember
2258 that line breaks can only occur at places where there are barlines. If
2259 you want to have a line break where there is no barline, you can force a
2260 barline by entering @code{\bar "";}.
2262 @subsection Page breaks
2264 Page breaks are normally computed by @TeX{}, so they are not under direct
2265 control. However, you can insert a commands into the .tex output to
2266 instruct @TeX{} where to break pages. For more details, see the
2267 example file @file{input/test/between-systems.ly}
2271 @cindex breaking pages
2274 @subsection Font size
2279 The Feta font provides musical symbols at six different sizes. These
2280 fonts are 11 point, 13 point, 16 point, 20 point,
2281 23 point, and 26 point. The point size of a font is the
2282 height of the five lines in a staff when displayed in the font.
2284 Definitions for these sizes are the files @file{paperSZ.ly}, where
2285 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2286 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2287 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2288 @code{paperTwentysix} are defined respectively. The default
2289 @code{\paper} block is also set.
2291 The font definitions are generated using a Scheme function. For more
2292 details, see the file @file{font.scm}.
2294 @subsection paper size
2299 To change the paper size, you must first set the
2300 @code{papersize}@indexcode{papersize} variable at top level. Set it to
2301 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2302 specification, you must set the font as described above. If you want
2303 the default font, then use the 20 point font. The new paper size will
2304 not take effect if the font is not loaded and selected afterwards.
2308 \include "paper16.ly"
2312 \paper @{ \paperSixteen @}
2316 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2317 will set the paper variables @code{hsize} and @code{vsize} (used by
2320 @node contextdefs, , , Reference Manual
2322 @cindex context definition
2323 @cindex translator definition
2324 @cindex engraver hacking
2327 A notation contexts is defined by the following information
2332 @item The LilyPond modules that do the actual conversion of music to
2333 notation. Each module is a so-called
2338 @item How these modules should cooperate, i.e. which ``cooperation
2339 module'' should be used. This cooperation module is a special
2342 @item What other contexts the context can contain,
2344 @item What properties are defined.
2347 A context definition has this syntax:
2351 \translator @code{@{}
2352 @var{translatorinit} @var{translatormodifierlist}
2356 @var{translatorinit} can be an identifier or of the form
2360 \type @var{typename} @code{;}
2363 @var{typename} is one of
2366 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2367 The standard cooperation engraver.
2369 @item @code{Score_engraver}@indexcode{Score_engraver}
2370 This is cooperation module that should be in the top level context.
2372 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2373 This is a special cooperation module (resembling
2374 @code{Score_engraver}) that is used to created an embedded
2378 @var{translatormodifierlist} is a list of items where each item is
2382 @item @code{\consists} @var{engravername} @code{;}
2383 Add @var{engravername} to the list of modules in this context.
2384 The order of engravers added with @code{\consists} is
2387 @item @code{\consistsend} @var{engravername} @code{;}
2388 Analogous to @code{\consists}, but makes sure that
2389 @var{engravername} is always added to the end of the list of
2392 Some engraver types need to be at the end of the list; this
2393 insures they are put there, and stay there, if a user adds or
2394 removes engravers. This command is usually not needed for
2397 @item @code{\accepts} @var{contextname} @code{;}
2398 Add @var{contextname} to the list of context this context can
2399 contain. The first listed context is the context to create by
2402 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2403 completeness, but is never used in practice.
2406 @item @code{\remove} @var{engravername} @code{;}
2407 Remove a previously added (with @code{\consists}) engraver.
2409 @item @code{\name} @var{contextname} @code{;}
2410 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2411 the name is not specified, the translator won't do anything.
2413 @item @var{propname} @code{=} @var{value} @code{;}
2414 A property assignment. It is allowed to use reals for
2418 In the @code{\paper} block, it is also possible to define translator
2419 identifiers. Like other block identifiers, the identifier can only
2420 be used as the very first item of a translator. In order to define
2421 such an identifier outside of @code{\score}, you must do
2427 foo = \translator @{ @dots{} @}
2434 \translator @{ \foo @dots{} @}
2442 @cindex paper types, engravers, and pre-defined translators
2444 Some pre-defined identifiers can simplify modification of
2445 translators. The pre-defined identifiers are:
2448 @item @code{StaffContext}@indexcode{StaffContext}
2449 Default Staff context.
2451 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2452 Default RhythmicStaff context.
2454 @item @code{VoiceContext}@indexcode{VoiceContext}
2455 Default Voice context.
2457 @item @code{ScoreContext}@indexcode{ScoreContext}
2458 Default Score context.
2460 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2461 Score context with numbering at the Score level.
2463 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2464 Staff context with numbering at the Staff level.
2466 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2467 Staff context that does not print if it only contains rests.
2468 Useful for orchestral scores.@footnote{Harakiri, also called
2469 Seppuku, is the ritual suicide of the Samourai.}
2471 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2473 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2476 Using these pre-defined values, you can remove or add items to the
2485 \remove Some_engraver;
2486 \consists Different_engraver;
2494 @node Sound output, , , Reference Manual
2495 @section Sound output
2497 The MIDI block is analogous to the paper block, but it is somewhat
2498 simpler. The @code{\midi} block can contain:
2502 @item a @code{\tempo} definition
2503 @item context definitions
2506 Assignments in the @code{\midi} block are not allowed.
2510 @cindex context definition
2512 Context definitions follow precisely the same syntax as within the
2513 \paper block. Translation modules for sound are called performers.
2514 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2518 @cindex MIDI instrument names
2520 @node midilist, , , Reference Manual
2522 The MIDI instrument name is set by the
2523 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2524 if that property is not set, the
2525 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2526 instrument name should be chosen from the following list. If the
2527 selected string does not exactly match, then LilyPond uses the default
2533 "acoustic grand" "contrabass" "lead 7 (fifths)"
2534 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2535 "electric grand" "pizzicato strings" "pad 1 (new age)"
2536 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2537 "electric piano 1" "timpani" "pad 3 (polysynth)"
2538 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2539 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2540 "clav" "synthstrings 1" "pad 6 (metallic)"
2541 "celesta" "synthstrings 2" "pad 7 (halo)"
2542 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2543 "music box" "voice oohs" "fx 1 (rain)"
2544 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2545 "marimba" "orchestra hit" "fx 3 (crystal)"
2546 "xylophone" "trumpet" "fx 4 (atmosphere)"
2547 "tubular bells" "trombone" "fx 5 (brightness)"
2548 "dulcimer" "tuba" "fx 6 (goblins)"
2549 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2550 "percussive organ" "french horn" "fx 8 (sci-fi)"
2551 "rock organ" "brass section" "sitar"
2552 "church organ" "synthbrass 1" "banjo"
2553 "reed organ" "synthbrass 2" "shamisen"
2554 "accordion" "soprano sax" "koto"
2555 "harmonica" "alto sax" "kalimba"
2556 "concertina" "tenor sax" "bagpipe"
2557 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2558 "acoustic guitar (steel)" "oboe" "shanai"
2559 "electric guitar (jazz)" "english horn" "tinkle bell"
2560 "electric guitar (clean)" "bassoon" "agogo"
2561 "electric guitar (muted)" "clarinet" "steel drums"
2562 "overdriven guitar" "piccolo" "woodblock"
2563 "distorted guitar" "flute" "taiko drum"
2564 "guitar harmonics" "recorder" "melodic tom"
2565 "acoustic bass" "pan flute" "synth drum"
2566 "electric bass (finger)" "blown bottle" "reverse cymbal"
2567 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2568 "fretless bass" "whistle" "breath noise"
2569 "slap bass 1" "ocarina" "seashore"
2570 "slap bass 2" "lead 1 (square)" "bird tweet"
2571 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2572 "synth bass 2" "lead 3 (calliope)" "helicopter"
2573 "violin" "lead 4 (chiff)" "applause"
2574 "viola" "lead 5 (charang)" "gunshot"
2575 "cello" "lead 6 (voice)"
2582 @node Pre-defined Identifiers, , , Reference Manual
2584 @section Pre-defined Identifiers
2586 @cindex pre-defined identifiers
2589 Various identifiers are defined in the initialization files to
2590 provide shorthands for some settings. Most of them are in
2591 @file{ly/declarations.ly} and @file{ly/property.ly}.
2594 @item @code{\break}@keyindex{break}
2595 Force a line break in music by using a large argument for the
2596 keyword @code{\penalty}.
2598 @item @code{\nobreak}@keyindex{nobreak}
2599 Prevent a line break in music by using a large negative argument
2600 for the keyword @code{\penalty}.
2602 @item @code{\shiftOff}@keyindex{shiftOff}
2603 Disable horizontal shifting of note heads that collide.
2605 @item @code{\shiftOn}@keyindex{shiftOn}
2606 Enable note heads that collide with other note heads to be
2607 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
2608 set different shift values.
2610 @item @code{\stemBoth}@keyindex{stemBoth}
2611 Allow stems, beams, and slurs to point either upwards or
2612 downwards, decided automatically by LilyPond.
2614 @item @code{\stemdown}@keyindex{stemdown}
2615 Force stems, beams, and slurs to point down.
2617 @item @code{\stemUp}@keyindex{stemUp}
2618 Force stems, beams and slurs to point up.