3 @node Reference Manual, , , Top
6 * Top level:: Top level
7 * notenames:: notenames
8 * Lexical conventions:: Lexical conventions
9 * Other languages:: notelang
12 * Music expressions:: Music expressions
13 * Atomic music expressions:: Atomic music expressions
14 * Note specification:: notedesc
16 * Manual beams:: Manual beam
18 * Compound music expressions:: Compound music expressions
21 * transpose:: transpose
22 * Ambiguities:: Ambiguities
23 * Notation conversion specifics:: Notation conversion specifics
25 * lyricprint:: lyricprint
26 * Notation Contexts:: Notation Contexts
27 * Properties:: Changing formatting
28 * Notation output definitions:: Notation output definitions
30 * Paper variables:: papervars
31 * contextdefs:: contextdefs
32 * engravers:: engravers
33 * Sound output:: Sound output
35 * Pre-defined Identifiers:: Pre-defined Identifiers
38 @chapter Reference Manual
42 @node Overview, , , Reference Manual
45 This document@footnote{This document has been revised for
46 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
47 a language for defining music. We call this language @emph{Music
48 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
49 comes up with a better name, we'd gladly take this. Gourlay already
50 uses a ``Musical Description Language,'' ISO standard 10743 defines a
51 ``Standard Music Description Language.'' We're not being original
54 @emph{Mudela} is a language that allows you to
57 @item create musical expressions by combining pitches, durations
58 @item output those musical expressions to various formats
59 @item give those musical expressions and output definitions names, so
60 you can enter them in manageable chunks.
63 @emph{Mudela} aims to define a piece of music completely, both from
64 typesetting and from a performance point of view.
68 @node Top level, , , Reference Manual
73 This section describes what you may enter at top level.
77 @cindex score definition
79 The output is generated combining a music expression with an output
80 definition. A score block has the following syntax:
83 \score @{ @var{musicexpr} @var{outputdefs} @}
86 @var{outputdefs} are zero or more output definitions. If no output
87 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 notenames, , , Reference Manual
113 Note name tables can be specified using
116 \notenames@keyindex{notenames}
117 @{ @var{assignmentlist} @}
120 @var{assignmentlist} is a list of definitions of the form
123 @var{name} = @var{pitch}
126 Chord modifiers can be set analogously, with
127 @code{\chordmodifiers}@keyindex{chordmodifiers}.
129 A @code{\paper} block at top level sets the default paper block. A
130 @code{\midi} block at top level works similarly.
134 LilyPond contains a Scheme interpreter (the GUILE library) for
135 internal use. The following commands access the interpreter
139 \scm @keyindex{scm} @var{scheme} ;
142 Evaluates the specified Scheme code. The result is discarded.
145 \scmfile@keyindex{scmfile} @var{filename};
148 Reads Scheme code from the specified file. The result is discarded.
152 Identifier assignments may appear at top level. Semicolons are
153 forbidden after top level assignments.
157 @node Lexical conventions, , , Reference Manual
158 @section Lexical conventions
160 @cindex lexical conventions
169 A one line comment is introduced by a `@code{%}' character.
170 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
171 They cannot be nested.
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
241 Formed from an optional minus sign followed by digits. Arithmetic
242 operations cannot be done with integers, and integers cannot be mixed
250 Formed from an optional minus sign and a sequence of digits followed
251 by a @emph{required} decimal point and an optional exponent such as
252 @code{-1.2e3}. Reals can be built up using the usual operations:
253 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
254 `@code{/}@indexcode{/}', with parentheses for grouping.
256 A real constant can be followed by one of the dimension
259 @code{\mm}@keyindex{mm},
260 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
261 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
262 centimeters, respectively. This converts the number to a real that
263 is the internal representation of dimensions.
270 Begins and ends with the `@code{"}' character. To include a `@code{"}'
271 character in a string write `@code{\"}'. Various other backslash
272 sequences have special interpretations as in the C language. A
273 string that contains no spaces can be written without the quotes.
274 See section XREF-modes [FIXME] for details on unquoted strings; their
275 interpretation varies depending on the situation. Strings can be
276 concatenated with the `@code{+}' operator.
279 The tokenizer accepts the following commands. They can appear
283 \maininput@keyindex{maininput}
286 This command is used in init files to signal that the user file must
287 be read. This command cannot be used in a user file.
290 \include@keyindex{include} @var{file}
293 Include @var{file}. The argument @var{file} may be a quoted string (an
294 unquoted string will not work here!) or a string identifier. The full
295 filename including the @file{.ly} extension must be given,
298 \version@keyindex{version} @var{string} ;
301 Specify the version of LilyPond that a file was written for. The
302 argument is a version string in quotes, for example @code{"1.2.0"}.
303 This is used to detect invalid input, and to aid
304 @code{convert-mudela}, a tool that automatically upgrades input files.
308 @cindex other languages
310 @node Other languages, , , Reference Manual
312 Note name definitions have been provided in various languages.
313 Simply include the language specific init file. For example:
314 `@code{\include "english.ly"}'. The available language files and the
315 names they define are:
320 Note Names sharp flat
321 nederlands.ly c d e f g a bes b -is -es
322 english.ly c d e f g a bf b -s/-sharp -f/-flat
323 deutsch.ly c d e f g a b h -is -es
324 norsk.ly c d e f g a b h -iss/-is -ess/-es
325 svenska.ly c d e f g a b h -iss -ess
326 italiano.ly do re mi fa sol la sid si -d -b
327 catalan.ly do re mi fa sol la sid si -d/-s -b
332 Pitch names can be redefined using the
333 @code{\notenames}@keyindex{notenames} command, see
334 subsection XREF-notenames [FIXME].
338 @cindex lexical modes
342 @node modes, , , Reference Manual
344 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
345 special input modes on top of the default mode. In each mode, words
346 are identified on the input. If @code{"word"} is encountered, it is
347 treated as a string. If @code{\word} is encountered, it is treated as
348 a keyword or as an identifier. The behavior of the modes differs in
349 two ways: Different modes treat unquoted words differently, and
350 different modes have different rules for deciding what is a word.
356 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
357 mode, a word is an alphabetic character followed by alphanumeric
358 characters. If @code{word} is encountered on the input it is
364 Note mode is introduced by the keyword
365 @code{\notes}@keyindex{notes}. In Note mode, words can only
366 contain alphabetic characters. If @code{word} is encountered,
367 LilyPond first checks for a notename of @code{word}. If no
368 notename is found, then @code{word} is treated as a string.
370 Since combinations of numbers and dots are used for indicating
371 durations, it is not possible to enter real numbers in this mode.
376 Chord mode is introduced by the keyword
377 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
378 words are also looked up in a chord modifier table (containing
379 @code{maj}, @code{dim}, etc).
381 Since combinations of numbers and dots are used for indicating
382 durations, you can not enter real numbers in this mode. Dashes
383 and carets are used to indicate chord additions and subtractions,
384 so scripts can not be entered in Chord mode.
389 Lyrics mode is introduced by the keyword
390 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
391 easy to include punctuation and diacritical marks in words. A
392 word in Lyrics mode begins with: an alphabetic character,
393 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
394 control characters @code{^A} through @code{^F}, @code{^Q} through
395 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
396 over 127, or a two-character combination of a backslash followed
397 by one of `@code{`}', `@code{'}', `@code{"}', or
398 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
399 enter lyrics in TeX format or a standard encoding without
400 needing quotes. The precise definition of this mode indeed is
401 ludicrous. This will remain so until the authors of LilyPond
402 acquire a deeper understanding of character encoding, or someone
403 else steps up to fix this.}
405 Subsequent characters of a word can be any character that is not
406 a digit and not white space. One important consequence of this
407 is that a word can end with `@code{@}}', which may be confusing if
408 you thought the closing brace was going to terminate Lyrics
409 mode.@footnote{LilyPond will issue a warning, though.} Any
410 `@code{_}' characters which appear in an unquoted word are
411 converted to spaces. This provides a mechanism for introducing
412 spaces into words without using quotes. Quoted words can also be
413 used in Lyrics mode to specify words that cannot be written with
414 the above rules. Here are some examples. Not all of these words
415 are printable by TeX.
422 2B_||_!2B % not a word because it starts with a digit
423 ``Hello'' % not a word because it starts with `
424 _ _ _ _ % 4 words, each one a space
429 Since combinations of numbers and dots are used for indicating
430 durations, you can not enter real numbers in this mode.
433 It is possible to create words that break the rules by prefixing them
434 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
435 word beginning with `@code{$}' extends until the next white space
436 character. Such words can contain numbers (even in Note mode), or
437 other forbidden characters. The dollar sign can be used to create
438 and access identifiers that could not otherwise be used.@footnote{Use
439 of `@code{$}' hampers readability and portability to future LilyPond
440 versions, thus the use of the dollar sign is discouraged.}
444 @node Types, , , Reference Manual
447 @cindex types and identifiers
449 @emph{Mudela} has a limited set of types:
455 @item music expressions
456 @item durations of notes and rests (specified with
457 @code{\notenames}@keyindex{notenames})
458 @item note name tables
459 @item context definitions, part of output definitions. See
460 section XREF-contextdefs [FIXME] for more information
461 @item output definitions (like @code{\paper}@keyindex{paper} blocks
462 and @code{\midi}@keyindex{midi} blocks)
463 @item score definitions (@code{\score}@keyindex{score} blocks)
466 Type is a syntactical property: @emph{Mudela} has no real type system,
467 so there is no support for generic expressions, functions, or user
468 defined types. For the same reason, it is not possible to mix reals
469 and integers in arithmetic expressions, and ``type
472 (e.g., using a string identifier to
473 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
476 Identifiers allow objects to be assigned to names. To assign an
477 identifier, you use `@var{name}=@var{value}' and to refer to an
478 identifier, you preceed its name with a backslash:
479 `@code{\}@var{name}'. Identifier assignments must appear at top level
480 in the @emph{Mudela} file. Semicolons are forbidden after assignments
481 appearing at top level but they are obligatory after assignments
482 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
484 @var{value} is any of the types listed above.
486 An identifier can be created with any string for its name, but you
487 will only be able to refer to identifiers whose names begin with a
488 letter, being entirely alphanumeric. It is impossible to refer to an
489 identifier whose name is the same as the name of a keyword.
491 The right hand side of an identifier assignment is parsed completely
492 before the assignment is done, so it is allowed to redefine an
493 identifier in terms of its old value, e.g.
499 When an identifier is referenced, the information it points to is
500 copied. Therefore it only makes sense to put identifiers for
501 translators, output definitions, and @code{\score}@keyindex{score}
502 blocks as the first item in a block. For this reason, if you
503 reference a @code{\foo} variable in a @code{\foo} block, it must be the
504 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
505 \two@}} does not make sense, because the information of @code{\two}
506 would overwrite the information of @code{\one}, thereby making the
507 reference to the first identifier useless.}
511 @node Music expressions, , , Reference Manual
512 @section Music expressions
514 @cindex music expressions
516 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
517 lyric syllables are music expressions (the atomic
519 @cindex atomic music expressions
520 , and you can combine
521 music expressions to form new ones. This example forms a compound
522 expressions out of the quarter @code{c} note and a @code{d}
526 \sequential @{ c4 d4 @}
529 The meaning of this compound expression is to play the `@code{c}'
530 first, and then the `@code{d}' (as opposed to playing them
531 simultaneously, for instance).
533 Atomic music expression are discussed in
534 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
535 discussed in subsection XREF-compoundmusic [FIXME].
539 @node Atomic music expressions, , , Reference Manual
540 @section Atomic music expressions
550 The syntax for pitch specification is
554 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
557 @var{octave} is specified by an integer, zero for the octave
558 containing middle C. @var{note} is a number from 0 to 7, with 0
559 corresponding to C and 7 corresponding to B. The shift is zero for a
560 natural, negative to add flats, or positive to add sharps.
562 In Note and Chord mode, pitches may be designated by names. See
563 section XREF-notelang [FIXME] for pitch names in different languages.
565 The syntax for duration specification is
568 \duration@keyindex{duration}
569 @{ @var{length} @var{dotcount} @}
572 @var{length} is the negative logarithm (base 2) of the duration:
573 1 is a half note, 2 is a quarter note, 3 is an eighth
574 note, etc. The number of dots after the note is given by
577 In Note, Chord, and Lyrics mode, durations may be designated by
578 numbers and dots. See Section XREF-notelang [FIXME] for details.
581 @node Note specification, , , Reference Manual
583 @cindex note specification
587 @cindex entering notes
589 A note specification has the form
592 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
595 The pitch of the note is specified by the note's name.
598 The default names are the Dutch note names. The notes are specified
599 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
600 octave below middle C and the letters span the octave above that C.
601 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
602 `@code{-is}' to the end of a pitch name. A flat is formed by adding
603 `@code{-es}'. Double sharps and double flats are obtained by adding
604 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
605 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
608 LilyPond has predefined sets of notenames for various languages. See
609 section XREF-notelang [FIXME] for details.
612 The optional octave specification takes the form of a series of
613 single quote (`@code{'}@indexcode{'}') characters or a series of comma
614 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
615 octave; each @code{,} lowers the pitch by an octave.
617 @mudela[fragment,verbatim,center]
618 c' d' e' f' g' a' b' c''
621 @mudela[fragment,verbatim,center]
622 cis' dis' eis' fis' gis' ais' bis'
625 @mudela[fragment,verbatim,center]
626 ces' des' es' fes' ges' as' bes'
629 @mudela[fragment,verbatim,center]
630 cisis' eisis' gisis' aisis' beses'
633 @mudela[fragment,verbatim,center]
634 ceses' eses' geses' ases' beses'
637 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
638 will determine what accidentals to typeset depending on the key and
639 context. A reminder accidental
640 @cindex reminder accidental
642 forced by adding an exclamation mark `@code{!}' after the pitch. A
643 cautionary accidental,
644 @cindex cautionary accidental
646 accidental within parentheses can be obtained by adding the question
647 mark `@code{?}@indexcode{?}' after the pitch.
649 @mudela[fragment,verbatim,center]
650 cis' d' e' cis' c'? d' e' c'!
656 Durations are entered as their reciprocal values. For notes longer
657 than a whole note, use identifiers.
663 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
672 \notes \relative c'' {
674 a1 a2 a4 a8 a16 a32 a64 a64
677 loose_column_distance = 2.5 * \interline;
680 \type "Score_engraver";
682 \consists "Note_heads_engraver";
683 \consists "Stem_engraver";
684 \consists "Rhythmic_column_engraver";
695 r1 r2 r4 r8 r16 r32 r64 r64
704 \notes \relative c'' {
706 r1 r2 r4 r8 r16 r32 r64 r64
709 loose_column_distance = 2.5 * \interline;
712 \type "Score_engraver";
714 \consists "Rest_engraver";
715 \consists "Stem_engraver";
716 \consists "Rhythmic_column_engraver";
723 If the duration is omitted then it is set equal to the previous
724 duration. If there is no previous duration, a quarter note is
725 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
726 to obtain dotted note lengths.
728 @mudela[fragment,verbatim,center]
732 You can alter the length of duration by writing
733 `@code{*}@var{fraction}' after it. This will not affect the
734 appearance of note heads or rests.
737 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
738 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
739 which produces a space of the specified duration.
740 `@code{R}' is specifically meant for entering parts: the @code{R} rest
741 can expand to fill a score with rests, or it can be printed as a
742 single multimeasure rest.
745 @cindex lyrics expressions
747 Syllables are entered like notes, with pitches replaced by text. For
748 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
749 with quarter note duration. Note that the hyphen has no special
750 meaning for lyrics, and does not introduce special symbols. See
751 section XREF-modes [FIXME] for a description of what is interpreted as
754 Spaces can be introduced into a lyric either by using quotes
755 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
756 not4}'. All unquoted underscores are converted to spaces. Printing
757 lyrics is discussed in section XREF-lyricprint [FIXME].
764 \property@keyindex{property}
765 @var{contextname}.@var{propname} = @var{value}
768 Sets the @var{propname} property of the context @var{contextname} to
769 the specified @var{value}. All three arguments are strings.
770 Depending on the context, it may be necessary to quote the strings or
771 to leave space on both sides of the dot.
775 @cindex translator switches
778 \translator@keyindex{translator}
779 @var{contexttype} = @var{name}
782 A music expression indicating that the context which is a direct
783 child of the a context of type @var{contexttype} should be shifted to
784 a context of type @var{contexttype} and the specified name.
786 Usually this is used to switch staffs in Piano music, e.g.
789 \translator Staff = top @var{Music}
796 Commands are music expressions that have no duration.
801 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
804 Change the key signature. @var{type} should be
805 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
806 @var{pitch}-major or @var{pitch}-minor, respectively. The second
807 argument is optional; the default is major keys. The @var{\context}
808 argument can also be given as an integer, which tells the number of
809 semitones that should be added to the pitch given in the subsequent
810 @code{\key}@keyindex{key} commands to get the corresponding major key,
811 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
812 mode names @code{\ionian}@keyindex{ionian},
813 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
814 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
815 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
820 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
823 Specify an arbitrary key signature. The pitches from @var{pitch} will
824 be printed in the key signature in the order that they appear on the
829 \mark@keyindex{mark} @var{unsigned};
833 Prints a mark over or under (depending on the
834 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
835 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
838 @node barlines, , , Reference Manual
841 \bar@keyindex{bar} @var{bartype};
844 This is a request to print a special bar symbol. It replaces the
845 regular bar symbol with a special
846 symbol. The argument @var{bartype} is a string which specifies the
847 kind of bar to print. Options are @code{":|"}
848 @cindex "|A@@@code{:|}
851 @cindex "|B@@@code{|:}
853 @cindex "|C@@@code{:|:}
856 @cindex "|D@@@code{||}
858 @cindex "|E@@@code{|.}
861 @cindex "|F@@@code{.|}
863 @cindex "|G@@@code{.|.}
865 These produce, respectively, a right repeat, a left repeat, a double
866 repeat, a double bar, a start bar, an end bar, and a thick double
867 bar. If @var{bartype} is set to @code{"empty"} then nothing is
868 printed, but a line break is allowed at that spot.
870 You are encouraged to use @code{\repeat} for repetitions.
871 See section XREF-sec-repeats [FIXME].
876 \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
879 Music expression that toggles the automatic generation of bar lines.
880 If @var{togglevalue} is 1, bar line generation is turned off. If
881 @var{togglevalue} is 0, a bar line is immediately printed and
882 automatic bar generation is turned on.
886 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
889 Change the time signature. The default time signature is 4/4.
890 The time signature is used to generate bar lines.
894 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
897 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
898 requests output with 76 quarter notes per minute.
902 \partial@keyindex{partial} @var{duration} @code{;}
909 This creates an incomplete measure (anacrusis, upbeat) at the start of
910 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
911 lasting two eighth notes.
915 @code{|}@indexcode{|}
920 @cindex shorten measures
924 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
925 interpretation, a warning message is issued if it doesn't fall at a
926 measure boundary. This can help you finding errors in the input.
927 The beginning of the measure will be relocated, so this can also
928 be used to shorten measures.
933 \penalty@keyindex{penalty} @var{int} @code{;}
936 Discourage or encourage line breaks. See identifiers
937 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
938 section [on identifiers] [FIXME].
942 \clef@keyindex{clef} @var{clefname} @code{;}
945 Music expression that sets the current clef. The argument is a
946 string which specifies the name of the clef. Several clef names are
947 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
948 name, then the clef lowered or raised an octave will be generated.
949 Here are the supported clef names with middle C shown in each
958 %\property Voice.textStyle = typewriter
959 \clef subbass; c'4-"\kern -5mm subbass"
960 \clef bass; c'4^"\kern -2mm bass"
961 \clef baritone; c'4_"\kern -5mm baritone"
962 \clef varbaritone; c'4^"\kern -6mm varbaritone"
963 \clef tenor; c'4_"\kern -3mm tenor"
964 \clef "G_8"; c'4^"\kern -2mm G\\_8"
979 \clef alto; c'4_"\kern -2mm alto"
980 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
981 \clef soprano; c'4_"\kern -6mm soprano"
982 \clef treble; c'4^"\kern -4mm treble"
983 \clef french; c'4_"\kern -4mm french"
992 The three clef symbols can also be obtained using the names `@code{G}',
993 `@code{C}' or `@code{F}', optionally followed by an integer which
994 indicates at which note line the clef is located. An as example, the
995 @code{mezzosoprano} clef can also be given as `@code{C2}'.
999 \skip@keyindex{skip} @var{duration} @code{;}
1002 Skips the amount of time specified by @var{duration}. If no other
1003 music is played, a gap will be left for the skipped time with no
1004 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1005 this has the same effect as the space rest `@code{s}'.
1010 @node Manual beams, , , Reference Manual
1012 A beam is specified by surrounding the beamed notes with brackets
1013 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1015 @mudela[fragment,verbatim,center]
1016 [a'8 a'] [a'16 a' a' a']
1019 Some more elaborate constructions:
1021 @mudela[fragment,verbatim,center]
1022 [a'16 <a' c''> c'' <a' c''>]
1023 \times 2/3 { [e'8 f' g'] }
1026 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1028 To place tremolo marks
1029 @cindex tremolo beams
1030 between two notes, begin
1031 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1032 will appear instead of beams. Putting more than two notes in such a
1033 construction will produce odd effects. To create tremolo beams on a
1034 single note, simply attach `@code{:}@var{length}' to the note itself
1035 (see also section XREF-tremolo [FIXME]).
1037 @mudela[fragment,verbatim,center]
1038 [:16 e'1 g'] [:8 e'4 f']
1041 @mudela[fragment,verbatim,center]
1042 c'4:32 [:16 c'8 d'8]
1046 @cindex --@@@code{-}@code{-}
1054 The syntax for an extender mark is `@code{__}'. This syntax can only
1055 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1056 a hyphen that will be printed between two lyric syllables) is
1062 A tie connects two adjacent note heads of the same pitch. When used
1063 with chords, it connects all of the note heads whose pitches match.
1064 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1065 If you try to tie together chords which have no common pitches, a
1066 warning message will appear and no ties will be created.
1068 @mudela[fragment,verbatim,center]
1069 e' ~ e' <c' e' g'> ~ <c' e' g'>
1074 [TODO: explain Requests]
1077 @cindex articulations
1083 A variety of symbols can appear above and below notes to indicate
1084 different characteristics of the performance. These symbols can be
1085 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1086 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1087 forced to appear above or below the note by writing
1088 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1089 respectively. Here is a chart showing symbols above notes, with the
1090 name of the corresponding symbol appearing underneath.
1096 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1097 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1098 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1099 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1100 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1101 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1102 c''-\thumb c''-\segno c''-\coda
1104 \context Lyrics \lyrics {
1105 accent__ marcato__ staccatissimo__ fermata
1106 stopped__ staccato__ tenuto__ upbow
1107 downbow__ lheel__ rheel__ ltoe
1108 rtoe__ turn__ open__ flageolet
1109 reverseturn__ trill__ prall__ mordent
1110 prallprall__ prallmordent__ uprall__ downprall
1111 thumb__ segno__ coda
1115 linewidth = 5.875\in;
1122 In addition, it is possible to place arbitrary strings of text or
1123 TeX above or below notes by using a string instead of an
1124 identifier: `@code{c^"text"}'. Fingerings
1127 placed by simply using digits. All of these note ornaments appear in
1128 the printed output but have no effect on the MIDI rendering of the
1131 To save typing, fingering instructions (digits 0 to 9 are
1132 supported) and single characters shorthands exist for a few
1139 \property Voice.textStyle = typewriter
1145 c''4-^_"c-\\^{ }" s4
1152 linewidth = 5.875 \in;
1159 Dynamic marks are specified by using an identifier after a note:
1160 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1161 The available dynamic marks are:
1162 @code{\ppp}@keyindex{ppp},
1163 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1164 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1165 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1166 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1167 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1168 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1169 @code{\rfz}@keyindex{rfz}.
1174 \textscript@keyindex{textscript} @var{text} @var{style}
1177 Defines a text to be printed over or under a note. @var{style} is a
1178 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1179 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1181 You can attach a general textscript request using this syntax:
1186 c4-\textscript "6" "finger"
1187 c4-\textscript "foo" "normal"
1192 This is equivalent to `@code{c4-6 c4-"foo"}'.
1199 \script@keyindex{script} @var{alias}
1202 Prints a symbol above or below a note. The argument is a string
1203 which points into the script-alias table defined in @file{script.scm}.
1204 The scheme definitions specify whether the symbol follows notes into
1205 the staff, dependence of symbol placement on staff direction, and a
1206 priority for placing several symbols over one note. Usually the
1207 @code{\script}@keyindex{script} keyword is not used directly. Various
1208 helpful identifier definitions appear in @file{script.ly}.
1213 Slurs connects chords and try to avoid crossing stems. A slur is
1214 started with `@code{(}' and stopped with `@code{)}'. The
1215 starting `@code{(}' appears to the right of the first note in
1216 the slur. The terminal `@code{)}' appears to the left of the
1217 first note in the slur. This makes it possible to put a note in
1218 slurs from both sides:
1220 @mudela[fragment,verbatim,center]
1221 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1227 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1228 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1229 @code{\decr}@keyindex{decr} and terminated with
1230 @code{\rced}@keyindex{rced}. There are also shorthands for these
1231 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1232 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1233 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1234 must go before the last note of the dynamic mark whereas @code{\rc}
1235 and @code{\rced} go after the last note. Because these marks are
1236 bound to notes, if you want to get several marks during one note, you
1237 must use spacer notes.
1239 @mudela[fragment,verbatim,center]
1240 c'' \< \! c'' d'' \decr e'' \rced
1241 < f''1 { s4 \< \! s2 \> \! s4 } >
1247 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1250 Define a spanning request. The @var{startstop} parameter is either -1
1251 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1252 @var{type} is a string that describes what should be started.
1253 Supported types are @code{crescendo}, @code{decrescendo},
1254 @code{beam}, @code{slur}. This is an internal command. Users should
1255 use the shorthands which are defined in the initialization file
1258 You can attach a (general) span request to a note using
1260 @mudela[fragment,verbatim,center]
1261 c'4-\spanrequest \start "slur"
1262 c'4-\spanrequest \stop "slur"
1265 The slur syntax with parentheses is a shorthand for this.
1269 @cindex tremolo marks
1271 @node tremolo, , , Reference Manual
1273 Tremolo marks can be printed on a single note by adding
1274 `@code{:}[@var{length}]' after the note. The length must be at
1275 least 8. A @var{length} value of 8 gives one line across
1276 the note stem. If the length is omitted, then the last value is
1277 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1280 @mudela[verbatim,fragment,center]
1286 @node Compound music expressions, , , Reference Manual
1287 @section Compound music expressions
1289 @cindex compound music expressions
1291 Music expressions are compound data structures. You can nest music
1292 expressions any way you like. This simple example shows how three
1293 chords can be expressed in two different ways:
1295 @mudela[fragment,verbatim,center]
1296 \notes \context Staff {
1298 <a c'> <b d' > <c' e' >
1299 <{a b c'}{c' d' e'}>
1303 @cindex context selection
1308 @var{contexttype} [= @var{contextname}] @var{musicexpr}
1311 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1312 If the context does not exist, it will be created. The new context
1313 can optionally be given a name. See
1314 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1315 information on interpretation contexts.
1323 Mode switching keywords form compound music expressions: @code{\notes}
1324 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1325 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1326 These expressions do not add anything to the meaning of their
1327 arguments. They are just a way to indicate that the arguments should
1328 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1329 information on modes.
1331 More information on context selection can be found in
1332 section XREF-contextselection [FIXME].
1336 @cindex sequential music
1342 \sequential@keyindex{sequential}
1343 @code{@{} @var{musicexprlist} @code{@}}
1346 This means that list should be played or written in sequence, i.e.,
1347 the second after the first, the third after the second. The duration
1348 of sequential music is the the sum of the durations of the elements.
1349 There is a shorthand, which leaves out the keyword:
1353 @code{@{} @var{musicexprlist} @code{@}}
1358 @cindex simultaneous music
1365 \simultaneous@keyindex{simultaneous}
1366 @code{@{} @var{musicexprlist} @code{@}}
1369 It constructs a music expression where all of its arguments start at
1370 the same moment. The duration is the maximum of the durations of the
1371 elements. The following shorthand is a common idiom:
1375 @code{<} @var{musicexprlist} @code{>}
1378 If you try to use a chord as the first thing in your score, you might
1379 get multiple staffs instead of a chord.
1381 @mudela[verbatim,center]
1390 This happens because the chord is interpreted by a score context.
1391 Each time a note is encountered a default Voice context (along with a
1392 Staff context) is created. The solution is to explicitly instantiate
1395 @mudela[verbatim,center]
1397 \notes\context Voice <c''4 e''>
1406 @cindex relative pitch specification
1408 @node relative, , , Reference Manual
1410 It is easy to get confused by octave changing marks and accidentally
1411 putting a pitch in the wrong octave. A much better way of entering a
1412 note's octave is `the relative octave' mode.
1416 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1419 The octave of notes that appear in @var{musicexpr} are calculated as
1420 follows: If no octave changing marks are used, the basic interval
1421 between this and the last note is always taken to be a fourth or
1422 less.@footnote{The interval is determined without regarding
1423 accidentals. A @code{fisis} following a @code{ceses} will be put above
1424 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1425 can then be added to raise or lower the pitch by an extra octave.
1426 Upon entering relative mode, an absolute starting pitch must be
1427 specified that will act as the predecessor of the first note of
1430 Entering scales is straightforward in relative mode.
1432 @mudela[fragment,verbatim,center]
1438 And octave changing marks are used for intervals greater than a fourth.
1440 @mudela[fragment,verbatim,center]
1442 c g c f, c' a, e'' }
1445 If the preceding item is a chord, the first note of the chord is used
1446 to determine the first note of the next chord. But other notes
1447 within the second chord are determined by looking at the immediately
1450 @mudela[fragment,verbatim,center]
1458 The pitch after the @code{\relative} contains a notename. To parse
1459 the pitch as a notename, you have to be in note mode, so there must
1460 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1463 The relative conversion will not affect @code{\transpose} or
1464 @code{\relative} sections in its argument. If you want to use
1465 relative within transposed music, you must place an additional
1466 @code{\relative} inside the @code{\transpose}.
1468 It is strongly recommended to use relative pitch mode: less work,
1469 less error-prone, and more readable.
1473 Chord names are a way to generate simultaneous music expressions that
1474 correspond with traditional chord names. It can only be used in
1475 Chord mode (see section XREF-modes [FIXME]).
1479 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
1482 @var{tonic} should be the tonic note of the chord, and @var{duration}
1483 is the chord duration in the usual notation. There are two kinds of
1484 modifiers. One type is @emph{chord additions}, which are obtained by
1485 listing intervals separated by dots. An interval is written by its
1486 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1487 lowering by half a step. Chord additions has two effects: It adds
1488 the specified interval and all lower odd numbered intervals to the
1489 chord, and it may lower or raise the specified interval. Intervals
1490 must be separated by a dot (`@code{.}').
1494 @mudela[fragment,verbatim]
1498 c-9 c-9-.5+.7+ c-3-.5- c-4.6.8
1505 The second type of modifier that may appear after the `@code{-}' is a
1506 named modifier. Named modifiers are listed in the file
1507 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1508 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1509 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1510 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1511 which replaces the 5th with a 4th.
1515 @mudela[fragment,verbatim]
1518 c1-m c-min7 c-maj c-aug c-dim c-sus
1526 Chord subtractions are used to eliminate notes from a chord. The
1527 notes to be subtracted are listed after a `@code{^}' character,
1530 @mudela[fragment,verbatim,center]
1538 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1539 the name of a single note to a chord. This has the effect of
1540 lowering the specified note by an octave so it becomes the lowest
1541 note in the chord. If the specified note is not in the chord, a
1542 warning will be printed.
1544 @mudela[fragment,verbatim,center]
1553 Throughout these examples, chords have been shifted around the staff
1554 using @code{\transpose}.
1556 You should not combine @code{\relative} with named chords.
1562 Tuplets are made out of a music expression by multiplying their
1563 duration with a fraction.
1567 \times@keyindex{times} @var{fraction} @var{musicexpr}
1570 The duration of @var{musicexpr} will be multiplied by the fraction.
1571 In print, the fraction's denominator will be printed over the notes,
1572 optionally with a bracket. The most common tuplet is the triplet in
1573 which 3 notes have the length of 2, so the notes are 2/3 of
1574 their written length:
1576 @mudela[fragment,verbatim,center]
1577 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1586 \grace@keyindex{grace} @var{musicexpr}
1589 A grace note expression has duration 0; the next real note is
1590 assumed to be the main note.
1592 You cannot have the grace note after the main note, in terms of
1593 duration, and main notes, but you can typeset the grace notes to the
1594 right of the main note using the property
1595 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1597 When grace music is interpreted, a score-within-a-score is set up:
1598 @var{musicexpr} has its own time bookkeeping, and you could (for
1599 example) have a separate time signature within grace notes. While in
1600 this score-within-a-score, you can create notes, beams, slurs, etc.
1601 Unbeamed eighth notes and shorter by default have a slash through the
1602 stem. This behavior can be controlled with the
1603 @code{stemStyle}@indexcode{stemStyle} property.
1607 @mudela[fragment,verbatim]
1609 \grace c8 c4 \grace { [c16 c16] } c4
1610 \grace { \property Grace.stemStyle = "" c16 } c4
1616 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1620 @code{\grace @{ \grace c32 c16 @} c4}
1623 may result in run-time errors of LilyPond. Since the meaning of such
1624 a construct is unclear, we don't consider this a loss. Similarly,
1625 juxtaposing two @code{\grace} sections is syntactically valid, but
1626 makes no sense and may cause runtime errors.
1628 Ending a staff or score with grace notes may also generate a run-time
1629 error, since there will be no main note to attach the grace notes to.
1635 @node Repeats, , , Reference Manual
1637 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1638 keyword. Since repeats look and sound differently when played or
1639 printed, there are a few different variants of repeats.
1643 Repeated music is fully written (played) out. Useful for MIDI
1647 This is the normal notation: Repeats are not written out, but
1648 alternative endings (voltas) are printed, left to right.
1651 Alternative endings are written stacked, which is useful for
1655 The syntax for repeats is
1659 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1662 If you have alternative endings, you may add
1666 \alternative@keyindex{alternative}
1667 @code{@{} @var{alternative1}
1669 @var{alternative3} @dots{} @code{@}}
1672 where each @var{alternative} is a Music expression.
1674 Normal notation repeats are used like this:
1678 @mudela[fragment,verbatim]
1680 \repeat volta 2 { c'4 d' e' f' }
1681 \repeat volta 2 { f' e' d' c' }
1686 With alternative endings:
1690 @mudela[fragment,verbatim]
1692 \repeat volta 2 {c'4 d' e' f'}
1693 \alternative { {d'2 d'} {f' f} }
1698 Folded repeats look like this:@footnote{Folded repeats offer little
1699 more over simultaneous music. However, it is to be expected that
1700 more functionality -- especially for the MIDI backend -- will be
1705 @mudela[fragment,verbatim]
1707 \repeat fold 2 {c'4 d' e' f'}
1708 \alternative { {d'2 d'} {f' f} }
1715 @mudela[fragment,verbatim]
1719 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1720 \alternative { { g4 g g } { a | a a a a | b1 } }
1727 If you don't give enough alternatives for all of the repeats, then
1728 the first alternative is assumed to be repeated often enough to equal
1729 the specified number of repeats.
1733 @mudela[fragment,verbatim]
1736 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1737 \alternative { { g4 g g }
1738 {\partial 1; e4 e e }
1739 {\partial 1; a a a a | b1 } }
1746 It is possible to nest @code{\repeat}. This is not entirely
1747 supported: the notes will come be in the right places, but the repeat
1752 @cindex transposition of pitches
1754 @node transpose, , , Reference Manual
1756 A music expression can be transposed with
1757 @code{\transpose}@keyindex{transpose}. The syntax is
1761 \transpose @var{pitch} @var{musicexpr}
1764 This means that middle C in @var{musicexpr} is transposed to
1767 @code{\transpose} distinguishes between enharmonic pitches: both
1768 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1769 a tone. The first version will print sharps and the second version
1774 @mudela[fragment,verbatim]
1779 \transpose des'' { \key e; c d e f }
1780 \transpose cis'' { \key e; c d e f }
1786 If you want to use both @code{\transpose} and @code{\relative}, then
1787 you must use @code{\transpose} first. @code{\relative} will have no
1788 effect music that appears inside a @code{\transpose}.
1792 @cindex automatic lyric durations
1794 If you have lyrics that are set to a melody, you can import the
1795 rhythm of that melody into the lyrics using @code{\addlyrics}.
1796 @keyindex{addlyrics} The syntax for this is
1800 \addlyrics @var{musicexpr1 musicexpr2}
1803 This means that both @var{musicexpr1} and @var{musicexpr2} are
1804 interpreted, but that every non-command atomic music expression
1805 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1806 of @var{musicexpr1}.
1808 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1809 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1814 @mudela[verbatim,fragment]
1817 \property Voice.automaticMelismata = "1"
1818 c8 () cis d8. e16 f2
1820 \context Lyrics \lyrics {
1826 You should use a single rhythm melody, and single rhythm lyrics (a
1827 constant duration is the obvious choice). If you do not, you will get
1828 undesired effects when using multiple stanzas:
1832 @mudela[verbatim,fragment]
1835 c8 () cis d8. e16 f2
1837 \context Lyrics \lyrics
1844 It is valid (but probably not very useful) to use notes instead of
1845 lyrics for @var{musicexpr2}.
1850 @node Ambiguities, , , Reference Manual
1851 @section Ambiguities
1855 The grammar contains a number of ambiguities.@footnote{The authors
1856 hope to resolve them at a later time.}
1859 @item The assignment
1865 can be interpreted as making a string identifier @code{\foo}
1866 containing @code{"bar"}, or a music identifier @code{\foo}
1867 containing the syllable `bar'.
1869 @item The assignment
1875 can be interpreted as making an integer identifier
1876 containing -6, or a Request identifier containing the
1877 fingering `6' (with neutral direction).
1879 @item If you do a nested repeat like
1891 then it is ambiguous to which @code{\repeat} the
1892 @code{\alternative} belongs. This is the classic if-then-else
1893 dilemma. It may be solved by using braces.
1895 @item (an as yet unidentified ambiguity :-)
1900 @node Notation conversion specifics, , , Reference Manual
1901 @section Notation conversion specifics
1905 @cindex automatic beam generation
1907 @node autobeam, , , Reference Manual
1909 By default, LilyPond will generate beams automatically. This feature
1910 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1911 property to 1. It can be overridden for specific cases by
1912 specifying explicit beams as described in
1913 section XREF-manualbeam [FIXME].
1915 A large number of Voice properties are used to decide how to generate
1916 beams. Their default values appear in @file{auto-beam-settings.ly}.
1917 In general, beams can begin anywhere, but their ending location is
1918 significant. Beams can end on a beat, or at durations specified by
1919 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1920 quarter note, for example, you could set
1921 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1922 at every three eighth notes you would set it to `@code{"3/8"}'. The
1923 same syntax can be used to specify beam starting points using
1924 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1926 To allow different settings for different time signatures, these
1927 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1928 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1929 to specify beams ending only for 6/8 time you would use the
1930 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1931 for notes of different durations, the duration can be tacked onto the
1932 end of the property. To specify beam endings for beams that contain
1933 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1941 @cindex printing!chord names
1943 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1944 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1945 either using the notation described above, or directly using
1950 @mudela[fragment,verbatim]
1952 \context ChordNames {
1953 \chords{a b c} \notes{<d f g> <e g b>}
1955 \context Staff \notes {
1963 LilyPond examines chords specified as lists of notes to determine a
1964 name to give the chord. By default, LilyPond will not try to
1965 identify chord inversions:
1967 @mudela[fragment,verbatim,center]
1969 \context ChordNameVoice \notes {
1972 \context Thread \notes {
1978 If you want inversions to be recognized, you must set the property
1979 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1981 @mudela[fragment,verbatim,center]
1983 \property Score.chordInversion = 1
1984 \context ChordNameVoice \notes {
1987 \context Thread \notes {
1997 @cindex printing!lyrics
1999 @node lyricprint, , , Reference Manual
2001 Lyric syllables must be interpreted within a @code{Lyrics} context
2003 @cindex context!Lyrics
2006 Here is a full example:
2013 \notes \transpose c'' {
2015 e f g2 | e4 f g2 \bar "|.";
2017 \context Lyrics \lyrics {
2018 Va-4 der Ja- cob Va- der Ja- cob
2019 Slaapt gij nog?2 Slaapt4 gij nog?2
2027 You may want a continuous line after the syllables to show melismata.
2028 To achieve this effect, add a `@code{__}' lyric as a separate word
2029 after the lyric to be extended. This will create an extender, a line
2030 that extends over the entire duration of the lyric. This line will
2031 run all the way to the start of the next lyric, so you may want to
2032 shorten it by using a blank lyric (using `@code{_}').
2039 \notes \relative c'' {
2040 a4 () b () c () d | c () d () b () a | c () d () b () a
2042 \context Lyrics \lyrics {
2043 foo1 __ | bar2. __ _4 | baz1 __
2052 If you want to have hyphens centered between syllables (rather than
2053 attached to the end of the first syllable) you can use the special
2054 `@code{-}@code{-}' lyric as a separate word between syllables. This
2055 will result in a hyphen which length varies depending on the space
2056 between syllables, and which will be centered between the syllables.
2064 \notes \transpose c'' {
2066 e f g2 | e4 f g2 \bar "|.";
2068 \context Lyrics \lyrics {
2069 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2070 Slaapt gij nog?2 | Slaapt4 gij nog?2
2080 @node Notation Contexts, , , Reference Manual
2081 @section Notation Contexts
2083 @cindex notation contexts
2085 Notation contexts are objects that only exist during a run of
2086 LilyPond. During the interpretation phase of LilyPond, the Music
2087 expression contained in a @code{\score} block is interpreted in time
2088 order. This is the order in which humans read, play, and write
2091 A context is an object that holds the reading state of the
2092 expression; it contains information like
2095 @item What notes are playing at this point?
2096 @item What symbols will be printed at this point?
2097 @item In what style will they printed?
2098 @item What is the current key signature, time signature, point within
2102 Contexts are grouped hierarchically: A @code{Voice} context is
2103 contained in a @code{Staff} context (because a staff can contain
2104 multiple voices at any point), a @code{Staff} context is contained in
2105 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2106 these can all contain multiple staffs).
2108 Contexts associated with sheet music output are called @emph{notation
2109 contexts}, those for sound output are called playing contexts.
2111 Contexts are created either manually or automatically. Initially,
2112 the top level music expression is interpreted by the top level
2113 context (the @code{Score} context). When a atomic music expression
2114 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2115 set of contexts is created that can process these atomic expressions,
2121 \score @{ \notes < c4 > @}
2126 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2127 context. When the note `@code{c4}' itself is interpreted, a set of
2128 contexts is needed that will accept notes. The default for this is a
2129 @code{Voice} context, contained in a @code{Staff} context. Creation of
2130 these contexts results in the staff being printed.
2135 You can also create contexts manually, and you probably have to do so
2136 if you want to typeset complicated multiple part material. If a
2137 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2138 during the interpretation phase, the @var{musicexpr} argument will be
2139 interpreted with a context of type @var{name}. If you specify a name,
2140 the specific context with that name is searched.
2142 If a context of the specified type and name can not be found, a new
2143 one is created. For example,
2149 \notes \relative c'' {
2150 c4 <d4 \context Staff = "another" e4> f
2157 In this example, the @code{c} and @code{d} are printed on the
2158 default staff. For the @code{e}, a context Staff called
2159 `@code{another}' is specified; since that does not exist, a new
2160 context is created. Within @code{another}, a (default) Voice context
2161 is created for the @code{e4}. When all music referring to a
2162 context is finished, the context is ended as well. So after the
2163 third quarter, @code{another} is removed.
2165 Almost all music expressions inherit their interpretation context
2166 from their parent. In other words, suppose that the syntax for a
2171 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2174 When the interpretation of this music expression starts, the context
2175 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2178 Lastly, you may wonder, why this:
2184 \notes \relative c'' @{
2192 doesn't result in this:
2197 \notes \relative c'' {
2204 For the @code{c4}, a default @code{Staff} (with a contained
2205 @code{Voice}) context is created. After the @code{c4} ends, no
2206 music refers to this default staff, so it would be ended, with the
2207 result shown. To prevent this inconvenient behavior, the context to
2208 which the sequential music refers is adjusted during the
2209 interpretation. So after the @code{c4} ends, the context of the
2210 sequential music is also the default @code{Voice} context.
2211 The @code{d4} gets interpreted in the same context
2216 These are the contexts supplied with the package. They are defined
2217 in the initialization file @file{ly/engraver.ly}.
2220 @item @code{Grace}@indexcode{Grace}
2221 The context for handling grace notes. It is instantiated
2222 automatically when you use @code{\grace}. Basically, it is an
2223 `embedded' miniature of the Score context. Since this context
2224 needs special interaction with the rest of LilyPond, you should
2225 not explicitly instantiate it.
2227 @item @code{LyricVoice}@indexcode{LyricVoice}
2228 Corresponds to a voice with lyrics. Handles the printing of a
2229 single line of lyrics.
2231 @item @code{Thread}@indexcode{Thread}
2232 Handles note heads, and is contained in the Voice context. You
2233 have to instantiate this explicitly if you want to adjust the
2234 style of individual note heads.
2236 @item @code{Voice}@indexcode{Voice}
2237 Corresponds to a voice on a staff. This context handles the
2238 conversion of dynamic signs, stems, beams, super- and subscripts,
2239 slurs, ties, and rests.
2241 You have to instantiate this explicitly if you want to have
2242 multiple voices on the same staff.
2244 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2245 A voice with chord names. Handles printing of a line of chord
2248 @item @code{ChordNames}@indexcode{ChordNames}
2249 Typesets chord names. Can contain @code{ChordNamesVoice}
2252 @item @code{Lyrics}@indexcode{Lyrics}
2253 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2255 @item @code{Staff}@indexcode{Staff}
2256 Handles clefs, bar lines, keys, accidentals. It can contain
2257 @code{Voice} contexts.
2259 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2260 A context like @code{Staff} but for printing rhythms. Pitches are
2261 ignored; the notes are printed on one line. It can contain
2262 @code{Voice} contexts.
2264 @item @code{GrandStaff}@indexcode{GrandStaff}
2265 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2266 brace on the left side, grouping the staffs together. The bar
2267 lines of the contained staffs are connected vertically. It can
2268 contain @code{Staff} contexts.
2270 @item @code{PianoStaff}@indexcode{PianoStaff}
2271 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2272 equal to @code{maxVerticalAlign} so that interstaff beaming and
2273 slurring can be used.
2275 @item @code{StaffGroup}@indexcode{StaffGroup}
2276 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2277 bracket on the left side, grouping the staffs together. The bar
2278 lines of the contained staffs are connected vertically. It can
2279 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2280 @code{Lyrics} contexts.
2282 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2283 Identical to @code{StaffGroup} except that the contained staffs
2284 are not connected vertically.
2286 @item @code{Score}@indexcode{Score}
2287 This is the top level notation context. No other context can
2288 contain a @code{Score} context. This context handles the
2289 administration of time signatures. It also makes sure that items
2290 such as clefs, time signatures, and key-signatures are aligned
2291 across staffs. It can contain @code{Lyrics}, @code{Staff},
2292 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2293 @code{ChoirStaff} contexts.
2295 You cannot explicitly instantiate a Score context (since it is
2296 not contained in any other context). It is instantiated
2297 automatically when an output definition (a @code{\score} or
2298 @code{\paper} block) is processed.
2303 Properties that are set in one context are inherited by all of the
2304 contained contexts. This means that a property valid for the
2305 @code{Voice} context can be set in the @code{Score} context (for
2306 example) and thus take effect in all @code{Voice} contexts.
2308 Properties can be preset within the @code{\translator} block
2309 corresponding to the appropriate context. In this case, the syntax
2314 @var{propname} @code{=} @var{value}
2317 This assignment happens before interpretation starts, so a
2318 @code{\property} expression will override any predefined settings.
2320 The @code{\property} expression will create any property you specify.
2321 There is no guarantee that a property will be used. So if you spell
2322 a property name wrong, there will be no error message.
2324 The property settings are used during the interpretation phase. They
2325 are read by the LilyPond modules where interpretation contexts are
2326 built of. These modules are called @emph{translators}. Translators for
2327 notation are called @emph{engravers}, and translators for sound are
2328 called @emph{performers}.
2330 The precise result of a property is determined by the implementation
2331 of the translator that reads them. Therefore, the result of a
2332 property can vary, since it is implementation and configuration
2335 In order to fully find out what properties are used, you must
2336 currently search the source code for calls to @code{get_property}.
2337 The rest of the section is devoted to an (incomplete) overview of
2338 available properties.
2340 @mbinclude properties.itely
2342 @node Notation output definitions, , , Reference Manual
2343 @section Notation output definitions
2347 @cindex notation output
2349 @cindex output definition
2351 @node paper, , , Reference Manual
2353 The most important output definition is the @code{\paper} block, for
2354 music notation. The syntax is
2358 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2361 where each of the items is one of
2364 @item An assignment. The assignment must be terminated by a
2365 semicolon. See section XREF-papervars [FIXME] for information on
2368 @item A context definition. See section XREF-contextdefs [FIXME] for
2369 more information on context definitions.
2371 @item A margin shape declaration. The syntax is
2375 \shape @var{indent1}@code{,} @var{width1}@code{,}
2376 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2381 Each pair of @var{indent} and @var{width} values is a dimension
2382 specifying how far to indent and how wide to make the line.
2383 The indentation and width of successive lines are specified by
2384 the successive pairs of dimensions. The last pair of
2385 dimensions will define the characeristics of all lines beyond
2386 those explicitly specified.
2388 @item A font declaration. Its syntax is
2392 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2395 @var{fontsize} is an integer describing the font to be used.
2396 0 is the default font. @var{fontname} is the basename of
2397 a font (usually a member of the Feta family).
2402 @cindex changing font size and paper size
2404 The Feta font provides musical symbols at six different sizes. These
2405 fonts are 11 point, 13 point, 16 point, 20 point,
2406 23 point, and 26 point. The point size of a font is the
2407 height of the five lines in a staff when displayed in the font.
2409 Definitions for these sizes are the files @file{paperSZ.ly}, where
2410 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2411 any of these files, the identifiers @code{paper_eleven},
2412 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2413 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2414 respectively. The default @code{\paper} block is also set.
2416 To change the paper size, you must first set the
2417 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2418 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2419 you must set the font as described above. If you want the default
2420 font, then use the 20 point font. The new paper size will not
2421 take effect if the font is not loaded and selected afterwards. Paper
2422 size selection works by loading a file named after the paper size you
2427 @cindex paper variables
2429 @node Paper variables, , , Reference Manual
2431 There is a large number of paper variables that are used to control
2432 details of the layout. These variables control the defaults for the
2433 entire score. Usually, they do not have to be changed; they are by
2434 default set to values that depend on the font size in use. The
2435 values are used by the graphic objects while formatting the score;
2436 they are therefore implementation dependent. Most variables are
2437 accompanied by documentation in the initalization file
2438 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2441 Nevertheless, here are some variables you may want to use or change:
2444 @item @code{indent}@indexcode{indent}
2445 The indentation of the first line of music.
2447 @item @code{interline}@indexcode{interline}
2448 The distance between two staff lines, calculated from the center
2449 of the lines. You should use either this or @code{rulethickness}
2450 as a unit for distances you modify.
2452 @item @code{linewidth}@indexcode{linewidth}
2453 Sets the width of the lines. If set to -1.0, a single
2454 unjustified line is produced.
2456 @item @code{output}@indexcode{output}
2457 Specifies an alternate name for the the output @file{s}.
2458 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2459 added to the string you specify.
2461 @item @code{rulethickness}@indexcode{rulethickness}
2462 Determines the thickness of staff and bar lines.
2466 @node contextdefs, , , Reference Manual
2468 @cindex context definition
2470 A notation contexts is defined by the following information
2475 @item The LilyPond modules that do the actual conversion of music to
2476 notation. Each module is a so-called
2481 @item How these modules should cooperate, i.e. which ``cooperation
2482 module'' should be used. This cooperation module is a special
2485 @item What other contexts the context can contain,
2487 @item What properties are defined.
2490 A context definition has this syntax:
2494 \translator @code{@{}
2495 @var{translatorinit} @var{translatormodifierlist}
2499 @var{translatorinit} can be an identifier or of the form
2503 \type @var{typename} @code{;}
2506 @var{typename} is one of
2509 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2510 The standard cooperation engraver.
2512 @item @code{Score_engraver}@indexcode{Score_engraver}
2513 This is cooperation module that should be in the top level context.
2515 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2516 This is a special cooperation module (resembling
2517 @code{Score_engraver}) that is used to created an embedded
2521 @var{translatormodifierlist} is a list of items where each item is
2525 @item @code{\consists} @var{engravername} @code{;}
2526 Add @var{engravername} to the list of modules in this context.
2527 Section XREF-engravers [FIXME] contains an overview of the engravers
2528 available. The order of engravers added with @code{\consists} is
2531 @item @code{\consistsend} @var{engravername} @code{;}
2532 Analogous to @code{\consists}, but makes sure that
2533 @var{engravername} is always added to the end of the list of
2536 Some engraver types need to be at the end of the list; this
2537 insures they are put there, and stay there, if a user adds or
2538 removes engravers. This command is usually not needed for
2541 @item @code{\accepts} @var{contextname} @code{;}
2542 Add @var{contextname} to the list of context this context can
2543 contain. The first listed context the context to create by
2546 @item @code{\remove} @var{engravername} @code{;}
2547 Remove a previously added (with @code{\consists}) engraver.
2549 @item @code{\name} @var{contextname} @code{;}
2550 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2551 the name is not specified, the translator won't do anything.
2553 @item @var{propname} @code{=} @var{value} @code{;}
2554 A property assignment. It is allowed to use reals for
2558 In the @code{\paper} block, it is also possible to define translator
2559 identifiers. Like other block identifiers, the identifier can only
2560 be used as the very first item of a translator. In order to define
2561 such an identifier outside of @code{\score}, you must do
2567 foo = \translator @{ @dots{} @}
2574 \translator @{ \foo @dots{} @}
2582 @cindex paper types, engravers, and pre-defined translators
2584 Some pre-defined identifiers can simplify modification of
2585 translators. The pre-defined identifiers are:
2588 @item @code{StaffContext}@indexcode{StaffContext}
2589 Default Staff context.
2591 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2592 Default RhythmicStaff context.
2594 @item @code{VoiceContext}@indexcode{VoiceContext}
2595 Default Voice context.
2597 @item @code{ScoreContext}@indexcode{ScoreContext}
2598 Default Score context.
2600 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2601 Score context with numbering at the Score level.
2603 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2604 Staff context with numbering at the Staff level.
2606 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2607 Staff context that does not print if it only contains rests.
2608 Useful for orchestral scores.@footnote{Harakiri, also called
2609 Seppuku, is the ritual suicide of the Samourai.}
2611 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2613 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2616 Using these pre-defined values, you can remove or add items to the
2625 \remove Some_engraver;
2626 \consists Different_engraver;
2635 @node engravers, , , Reference Manual
2637 The engravers for paper output are:
2642 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2643 Engraves bar lines. Normally in @code{Staff} and
2644 @code{RhythmicStaff}.
2646 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2647 Engrave bar numbers. These numbers appear at the start of each
2648 line. Not normally in any translator. Can be added to
2649 @code{Score} for score-wide numbering or to @code{Staff} for
2650 numbering on each staff.
2652 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2653 Handles beam requests by engraving beams. Normally appears in
2654 the @code{Voice} translator. If omitted, then notes will be
2655 printed with flags instead of beams.
2657 @item @code{Beam_req_swallow_translator}
2658 @indexcode{Beam_req_swallow_translator}
2659 Swallows beam requests. In @code{LyricVoice}.
2661 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2662 Engraves chord names. Normally in @code{ChordNameVoice} .
2664 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2666 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2667 Engraves the clef symbol. Normally in @code{Staff}.
2669 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2671 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2672 Engraves dots on dotted notes shifted to the right of the note.
2673 Normally in @code{Voice}. If omitted, then dots appear on top of
2676 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2677 Engraves dynamics symbols. Normally in @code{Voice}.
2679 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2681 @item @code{Key_engraver}@indexcode{Key_engraver}
2682 Engraves the key signature. Normally in @code{Staff}.
2684 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2686 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2687 Engraves lyrics. Normally in @code{LyricVoice}.
2689 @item @code{Multi_measure_rest_engraver}
2690 @indexcode{Multi_measure_rest_engraver}
2691 Engraves multi-measure rests that are produced with @code{R}.
2692 Normally in @code{Voice}.
2694 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2696 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2697 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2698 Note that the notes move, but the locations of accidentals stay
2701 @item @code{Priority_horizontal_align_engraver}
2702 @indexcode{Priority_horizontal_align_engraver}
2704 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2705 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2707 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2708 Handles collisions of rests. In @code{Staff}.
2710 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2711 Engraves rests. Normally in @code{Voice}.
2713 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2715 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2717 @item @code{Script_engraver}@indexcode{Script_engraver}
2718 Handles note ornaments generated by @code{\script}. Normally in
2721 @item @code{Separating_line_group_engraver}
2722 @indexcode{Separating_line_group_engraver}
2724 @item @code{Skip_req_swallow_translator}
2725 @indexcode{Skip_req_swallow_translator}
2727 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2728 Engraves slurs. Normally in @code{Voice}.
2730 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2731 Engraves lines across multiple staffs. Normally in
2732 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2733 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2735 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2737 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2739 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2740 Prints the name of the instrument (specified by
2741 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2744 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2746 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2747 Engraves stems. Normally in @code{Voice}.
2749 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2750 Engraves ties. Normally in @code{Voice}.
2752 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2753 Engraves the time signature. Normally in @code{Staff} and
2754 @code{RhythmicStaff}.
2756 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2757 Responsible for synchronizing timing information from staffs.
2758 Normally in @code{Score}. In order to create polyrhythmic music,
2759 this engraver should be removed from @code{Score} and placed in
2762 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2763 Engraves tuplet brackets? In @code{Staff}.
2765 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2770 @node Sound output, , , Reference Manual
2771 @section Sound output
2775 The MIDI block is analogous to the paper block, but it is simpler.
2776 The @code{\midi} block can contain:
2780 @item a @code{\tempo} definition
2781 @item context definitions
2784 Assignments in the @code{\midi} block are not allowed.
2788 @cindex context definition
2790 Context definitions follow precisely the same syntax as within the
2791 \paper block. Translation modules for sound are called performers.
2792 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2796 @cindex MIDI instrument names
2798 @node midilist, , , Reference Manual
2800 The MIDI instrument name is set by the
2801 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2802 if that property is not set, the
2803 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2804 instrument name should be chosen from the following list. If the
2805 selected string does not exactly match, then LilyPond uses the default
2812 "acoustic grand" "contrabass" "lead 7 (fifths)"
2813 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2814 "electric grand" "pizzicato strings" "pad 1 (new age)"
2815 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2816 "electric piano 1" "timpani" "pad 3 (polysynth)"
2817 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2818 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2819 "clav" "synthstrings 1" "pad 6 (metallic)"
2820 "celesta" "synthstrings 2" "pad 7 (halo)"
2821 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2822 "music box" "voice oohs" "fx 1 (rain)"
2823 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2824 "marimba" "orchestra hit" "fx 3 (crystal)"
2825 "xylophone" "trumpet" "fx 4 (atmosphere)"
2826 "tubular bells" "trombone" "fx 5 (brightness)"
2827 "dulcimer" "tuba" "fx 6 (goblins)"
2828 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2829 "percussive organ" "french horn" "fx 8 (sci-fi)"
2830 "rock organ" "brass section" "sitar"
2831 "church organ" "synthbrass 1" "banjo"
2832 "reed organ" "synthbrass 2" "shamisen"
2833 "accordion" "soprano sax" "koto"
2834 "harmonica" "alto sax" "kalimba"
2835 "concertina" "tenor sax" "bagpipe"
2836 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2837 "acoustic guitar (steel)" "oboe" "shanai"
2838 "electric guitar (jazz)" "english horn" "tinkle bell"
2839 "electric guitar (clean)" "bassoon" "agogo"
2840 "electric guitar (muted)" "clarinet" "steel drums"
2841 "overdriven guitar" "piccolo" "woodblock"
2842 "distorted guitar" "flute" "taiko drum"
2843 "guitar harmonics" "recorder" "melodic tom"
2844 "acoustic bass" "pan flute" "synth drum"
2845 "electric bass (finger)" "blown bottle" "reverse cymbal"
2846 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2847 "fretless bass" "whistle" "breath noise"
2848 "slap bass 1" "ocarina" "seashore"
2849 "slap bass 2" "lead 1 (square)" "bird tweet"
2850 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2851 "synth bass 2" "lead 3 (calliope)" "helicopter"
2852 "violin" "lead 4 (chiff)" "applause"
2853 "viola" "lead 5 (charang)" "gunshot"
2854 "cello" "lead 6 (voice)"
2860 @cindex MIDI types and performers
2862 The types available for MIDI translators are:
2865 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2866 @item @code{Score_performer}@indexcode{Score_performer}
2867 @item @code{Staff_performer}@indexcode{Staff_performer}
2870 The performers for MIDI translators are:
2873 @item @code{Key_performer}@indexcode{Key_performer}
2874 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2875 @item @code{Note_performer}@indexcode{Note_performer}
2876 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2877 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2882 @node Pre-defined Identifiers, , , Reference Manual
2884 @section Pre-defined Identifiers
2886 @cindex pre-defined identifiers
2889 Various identifiers are defined in the initialization files to
2890 provide shorthands for some settings. Most of them are in
2891 @file{ly/declarations.ly}.
2894 @item @code{\break}@keyindex{break}
2895 Force a line break in music by using a large argument for the
2896 keyword @code{\penalty}.
2898 @item @code{\center}@keyindex{center}
2899 Used for setting direction properties. Equals 0.
2901 @item @code{\down}@keyindex{down}
2902 Used for setting direction setting properties. Is equal
2905 @item @code{\free}@keyindex{free}
2906 Used for setting direction setting properties. Is equal
2909 @item @code{\left}@keyindex{left}
2910 Used for setting text alignment property. Is equal to -1.
2912 @item @code{\nobreak}@keyindex{nobreak}
2913 Prevent a line break in music by using a large negative argument
2914 for the keyword @code{\penalty}.
2916 @item @code{\none}@keyindex{none}
2917 Used for setting @code{Score.beamslopedamping} and
2918 @code{Score.beamquantisation} properties. Is equal to 0.
2920 @item @code{\normal}@keyindex{normal}
2921 Used for setting @code{Score.beamslopedamping} and
2922 @code{Score.beamquantisation} properties. Is equal to 1.
2924 @item @code{\normalkey}@keyindex{normalkey}
2925 Select normal key signatures where each octave has the same key
2926 signature. This sets the @code{Staff.keyoctaviation} property.
2928 @item @code{\right}@keyindex{right}
2929 Used for setting text alignment property. Is set to 1.
2931 @item @code{\shiftoff}@keyindex{shiftoff}
2932 Disable horizontal shifting of note heads that collide. Sets the
2933 @code{Voice.horizontalNoteShift} property.
2935 @item @code{\shifton}@keyindex{shifton}
2936 Enable note heads that collide with other note heads to be
2937 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2940 @item @code{\slurboth}@keyindex{slurboth}
2941 Allow slurs to be above or below notes. This sets the
2942 @code{Voice.slurVerticalDirection} property.
2944 @item @code{\slurdown}@keyindex{slurdown}
2945 Force slurs to be below notes. This sets the
2946 @code{Voice.slurVerticalDirection} property.
2948 @item @code{\slurup}@keyindex{slurup}
2949 Force slurs to be above notes. This sets the
2950 @code{Voice.slurVerticalDirection} property.
2952 @item @code{\specialkey}@keyindex{specialkey}
2953 Allow key signatures do differ in different octaves. This sets
2954 the @code{Staff.keyoctaviation} property.
2956 @item @code{\stemboth}@keyindex{stemboth}
2957 Allow stems, beams, and slurs to point either upwards or
2958 downwards, decided automatically by LilyPond. This sets the
2959 @code{Voice.verticalDirection} property.
2961 @item @code{\stemdown}@keyindex{stemdown}
2962 Force stems, beams, and slurs to point down. This sets the
2963 @code{Voice.verticalDirection} property.
2965 @item @code{\stemup}@keyindex{stemup}
2966 Force stems, beams and slurs to point up. This sets the
2967 @code{Voice.verticalDirection} property.
2969 @item @code{\traditional}@keyindex{traditional}
2970 Used for setting the @code{Score.beamquantisation} property. Is
2973 @item @code{\up}@keyindex{up}
2974 Used for setting various direction properties. Is equal