4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
18 @c .{Reference Manual}
20 @node Reference Manual
21 @chapter Reference Manual
23 This document describes GNU LilyPond and its input format. The last
24 revision of this document was made for LilyPond 1.3.145. It supposes a
25 passing familiarity with how LilyPond input works. New users are
26 encouraged to study the tutorial first.
49 * Skipping corrected music::
50 * Interpretation context::
60 The purpose of LilyPond is explained informally by the term `music
61 typesetter'. This is not a fully correct name: not only does the
62 program print musical symbols, it also makes aesthetic decisions.
63 Symbols and their placements are @emph{generated} from a high-level
64 musical description. In other words, LilyPond would be best described
65 by `music compiler' or `music to notation compiler'.
67 LilyPond is linked to GUILE, GNU's Scheme library for extension
68 programming. The Scheme library provides the glue that holds together
69 the low-level routines and separate modules which are written in C++.
71 When lilypond is run to typeset sheet music, the following happens:
73 @item GUILE Initialization: various scheme files are read
74 @item parsing: first standard @code{ly} initialization files are read, and
75 then the user @file{ly} file is read.
76 @item interpretation: the music in the file is processed ``in playing
77 order'', i.e. the order that you use to read sheet music, or the
78 order in which notes are played. The result of this step is a typesetting
82 The typesetting specification is solved: positions and formatting is
85 @item the visible results ("virtual ink") are written to the output file.
88 During these stages different types of data play the the main role:
89 during parsing, @strong{Music} objects are created. During the
90 interpretation, @strong{contexts} are constructed, and with these contexts
91 a network of @strong{graphical objects} (``grobs'') is created. These
92 grobs contain unknown variables, and the network forms a set of
93 equations. After solving the equations and filling in these variables,
94 the printed output (in the form of @strong{molecules}) is written to an
97 These threemanship of tasks (parsing, translating, typesetting) and
98 data-structures (music, context, graphical objects) permeates the entire
99 design of the program.
106 The most basic forms of music are notes. We discuss how you enter them
107 here. Notes on their own don't form valid input, but for the sake of
108 brevity we omit obligatory lint such as @code{\score} blocks and
109 @code{\paper} declarations.
114 * Defining pitch names::
117 * Easy Notation note heads ::
129 @cindex Note specification
131 @cindex entering notes
133 The verbose syntax for pitch specification is
135 @cindex @code{\pitch}
137 \pitch @var{scmpitch}
140 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
142 In Note and Chord mode, pitches may be designated by names. The default
143 names are the Dutch note names. The notes are specified by the letters
144 @code{a} through @code{g} (where the octave is formed by notes ranging
145 from @code{c} to @code{b}). The pitch @code{c} is an octave below
146 middle C and the letters span the octave above that C.
148 @cindex note names, Dutch
150 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
151 name. A flat is formed by adding @code{-es}. Double sharps and double
152 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
153 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
154 both forms are accepted.
156 LilyPond has predefined sets of note names for various other languages.
157 To use them, simply include the language specific init file. For
158 example: @code{\include "english.ly"}. The available language files and
159 the names they define are:
162 Note Names sharp flat
163 nederlands.ly c d e f g a bes b -is -es
164 english.ly c d e f g a bf b -s/-sharp -f/-flat
165 deutsch.ly c d e f g a b h -is -es
166 norsk.ly c d e f g a b h -iss/-is -ess/-es
167 svenska.ly c d e f g a b h -iss -ess
168 italiano.ly do re mi fa sol la sib si -d -b
169 catalan.ly do re mi fa sol la sib si -d/-s -b
177 The optional octave specification takes the form of a series of
178 single quote (`@code{'}') characters or a series of comma
179 (`@code{,}') characters. Each @code{'} raises the pitch by one
180 octave; each @code{,} lowers the pitch by an octave.
182 @lilypond[fragment,verbatim,center]
183 c' c'' es' g' as' gisis' ais'
186 @c . {Defining pitch names}
187 @node Defining pitch names
188 @subsection Defining pitch names
190 @cindex defining pitch names
191 @cindex pitch names, defining
193 Note names and chord modifiers can be customized for nationalities. The
194 syntax is as follows.
196 @cindex @code{\pitchnames}
197 @cindex @code{\chordmodifiers}
199 \pitchnames @var{scheme-alist}
200 \chordmodifiers @var{scheme-alist}
203 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
204 specific examples how to do this.
210 @subsection Durations
214 @cindex @code{\duration}
216 The syntax for a verbose duration specification is
218 \duration @var{scmduration}
220 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
221 @ref{Duration} for more information.
224 In Note, Chord, and Lyrics mode, durations may be designated by numbers
225 and dots: durations are entered as their reciprocal values. For notes
226 longer than a whole you must use identifiers.
230 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
232 r1 r2 r4 r8 r16 r32 r64 r64
238 \notes \relative c'' {
240 a1 a2 a4 a8 a16 a32 a64 a64
242 r1 r2 r4 r8 r16 r32 r64 r64
247 \remove "Clef_engraver"
248 \remove "Staff_symbol_engraver"
249 \remove "Time_signature_engraver"
250 \consists "Pitch_squash_engraver"
256 To get a longa note head, you have to use mensural note heads. This
257 is accomplished by setting the @code{style} property of the
258 NoteHead grob to @code{mensural}.
260 @lilypond[fragment,singleline,verbatim]
261 \property Voice.NoteHead \set #'style = #'mensural
265 If the duration is omitted then it is set to the previous duration
266 entered. At the start of parsing a quarter note is assumed. The
267 duration can be followed by dots (`@code{.}') to obtain dotted note
271 @lilypond[fragment,verbatim,center]
277 You can alter the length of duration by a fraction @var{N/M} by
278 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
279 will not affect the appearance of the notes or rests produced.
285 A note specification has the form
288 @var{pitch}[!][?][@var{duration}]
291 The alteration refers to what note is heard, not to whether an
292 accidental is printed. This is done depending on the key and context.
293 A reminder accidental
294 @cindex reminder accidental
296 can be forced by adding an exclamation mark @code{!} after the pitch. A
297 cautionary accidental,
298 @cindex cautionary accidental
299 @cindex parenthesized accidental
300 i.e., an accidental within parentheses can be obtained by adding the
301 question mark `@code{?}' after the pitch.
303 @lilypond[fragment,verbatim,center]
304 cis' d' e' cis' c'? d' e' c'!
308 @node Easy Notation note heads
309 @subsection Easy Notation note heads
311 @cindex easy notation
314 A entirely different type of note head is the "easyplay" note head: a
315 note head that includes a note name. It is used in some publications by
316 Hal-Leonard Inc. music publishers.
318 @lilypond[singleline,verbatim]
319 \include "paper23.ly"
321 \notes { c'2 e'4 f' | g'1 }
322 \paper { \translator { \EasyNotation } }
326 Note that @code{EasyNotation} overrides a @code{Score} context. You
327 probably will want to print it with magnification to make it better
328 readable, see @ref{Output scaling}.
334 If you view the result with Xdvi, then staff lines will show through the
335 letters. Printing the postscript file obtained either by using dvips or
336 the @code{-f ps} option of lilypond produces the correct result.
346 A tie connects two adjacent note heads of the same pitch. When used
347 with chords, it connects all the note heads whose pitches match.
348 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
349 together chords which have no common pitches then no ties will be
352 @lilypond[fragment,verbatim,center]
353 e' ~ e' <c' e' g'> ~ <c' e' g'>
356 If you dislike the amount of ties created for a chord, you set
357 @code{Voice.sparseTies} to true, resulting in a smaller number of
359 @lilypond[fragment,verbatim,center]
360 \property Voice.sparseTies = ##t
361 <c' e' g'> ~ <c' e' g'>
364 In its meaning a tie is just a way of extending a note duration, similar
365 to the augmentation dot: the following example are two ways of notating
366 exactly the same concept.
368 @lilypond[fragment, singleline]
372 The name of the tie grob is @code{Voice.Tie}.
376 At present, the tie is implemented as a separate thing, temporally
377 located in between the notes. There is also no way to convert
378 between tied notes, dotted notes and plain notes.
380 Tieing only a subset of the note heads of a chord is not supported in a
381 simple way. It can be achieved by moving the tie-engraver into the Thread
382 context and turning on and off ties per Thread.
390 @cindex @code{\times}
392 Tuplets are made out of a music expression by multiplying their duration
395 @cindex @code{\times}
397 \times @var{fraction} @var{musicexpr}
400 The duration of @var{musicexpr} will be multiplied by the fraction.
401 In print, the fraction's denominator will be printed over the notes,
402 optionally with a bracket. The most common tuplet is the triplet in
403 which 3 notes have the length of 2, so the notes are 2/3 of
404 their written length:
406 @lilypond[fragment,verbatim,center]
407 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
410 The property @code{tupletSpannerDuration} specifies how long each bracket
411 should last. With this, you can make lots of tuplets while typing
412 @code{\times} only once, thus saving typing work.
414 @lilypond[fragment, relative, singleline, verbatim]
415 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
416 \times 2/3 { c''8 c c c c c }
419 The format of the number is determined by the property
420 @code{tupletNumberFormatFunction}. The default prints only the
421 denominator, but if you set it to the Scheme function
422 @code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
424 @cindex @code{tupletNumberFormatFunction}
425 @cindex tuplet formatting
427 Tuplet brackets are printed as @code{TupletBracket} grobs
435 Rests are entered like notes, with note name `@code{r}'. The grob is
436 @code{Rest}. Whole bar rests centered in the bar are specified using
437 @code{R}, see @ref{Multi measure rests}.
452 Skips the amount of time specified by @var{duration}. If no other music
453 is played, a gap will be left for the skipped time without any notes
454 printed. The shorthand is only available in Note and Chord mode.
459 @section Staff notation
461 @cindex Staff notation
473 @subsection Key signature
478 Setting or changing the key signature is done with the @code{\key}
481 @code{\key} @var{pitch} @var{type}
484 @cindex @code{\minor}
485 @cindex @code{\major}
486 @cindex @code{\minor}
487 @cindex @code{\ionian}
488 @cindex @code{\locrian}
489 @cindex @code{\aeolian}
490 @cindex @code{\mixolydian}
491 @cindex @code{\lydian}
492 @cindex @code{\phrygian}
493 @cindex @code{\dorian}
495 Here, @var{type} should be @code{\major} or @code{\minor} to get
496 @var{pitch}-major or @var{pitch}-minor, respectively.
497 The standard mode names @code{\ionian},
498 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
499 @code{\phrygian}, and @code{\dorian} are also defined.
501 This command sets the context property @code{Staff.keySignature}.
502 Non-standard key signatures can be specified by setting this property
503 directly, see the generated documentation for @rgrob{KeySignature}.
505 The printed signature is a @code{KeySignature} grob.
507 @cindex @code{keySignature}
514 The clef can be set or changed with the @code{\clef} command.
522 \property Staff.clefGlyph = @var{glyph associated with clefname}
523 \property Staff.clefPosition = @var{clef Y-position for clefname}
524 \property Staff.clefOctavation = @var{extra transposition of clefname}
527 Any change in these properties creates a clef (a @code{Clef} grob).
529 Supported clef-names include
532 @item treble, violin, G, G2
556 By adding @code{_8} or @code{^8} to the clef name, the clef is
557 transposed one octave down or up, respectively.
559 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
568 @item clefs-vaticana_do
569 Editio Vaticana style do clef
570 @item clefs-vaticana_fa
571 Editio Vaticana style fa clef
572 @item clefs-medicaea_do
573 Editio Medicaea style do clef
574 @item clefs-medicaea_fa
575 Editio Medicaea style fa clef
576 @item clefs-mensural1_c
577 modern style mensural C clef
578 @item clefs-mensural2_c
579 historic style small mensural C clef
580 @item clefs-mensural3_c
581 historic style big mensural C clef
582 @item clefs-mensural1_f
583 historic style traditional mensural F clef
584 @item clefs-mensural2_f
585 historic style new mensural F clef
586 @item clefs-mensural_g
587 historic style mensural G clef
588 @item clefs-hufnagel_do
589 historic style hufnagel do clef
590 @item clefs-hufnagel_fa
591 historic style hufnagel fa clef
592 @item clefs-hufnagel_do_fa
593 historic style hufnagel combined do/fa clef
594 @item clefs-percussion
595 modern style percussion clef
598 @emph{Modern style} means ``as is typeset in current editions.''
599 @emph{Historic style} means ``as was typeset or written in contemporary
600 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
603 @cindex Vaticana, Editio
604 @cindex Medicaea, Editio
605 @cindex hufnagel clefs
608 @c . {Time signature}
610 @subsection Time signature
611 @cindex Time signature
615 The time signature is set or changed by the @code{\time}
618 \time @var{n}@code{/}@var{d}
620 Internally, this is a shortcut for doing
622 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
623 \property Score.beatLength = #(make-moment 1 @var{d})
624 \property Score.measureLength = #(make-moment @var{n} @var{d})
627 These properties @code{timeSignatureFraction} determine where bar lines
628 should be inserted, and how automatic beams should be
631 Changing the value of @code{timeSignatureFraction} also causes a
632 fraction to be printed. This grob is @code{TimeSignature}.
634 The actual symbol that's printed can be customised with the style
636 @lilypond[fragment, verbatim, singleline]
638 \property Staff.TimeSignature \override #'style = #'C
640 \property Staff.TimeSignature \override #'style = #'()
642 \property Staff.TimeSignature \override #'style = #'C
646 There are many more options for the layout of this grob. They are
647 selected through the @code{style} grob property.
649 @c FIXME: this isn't documented except in example?
651 @file{input/test/time.ly} for examples.
658 @cindex partial measure
659 @cindex measure, partial
660 @cindex shorten measures
661 @cindex @code{\partial}
663 Partial measures, for example in upbeats, are entered using the
664 @code{\partial} command:
666 \partial @var{duration}
669 Internally, this is a shortcut for
672 \property Score.measurePosition = -@var{length of duration}
676 The property @code{measurePosition} contains a rational number
677 indicating how much of the measure has passed at this point.
680 @node Unmetered music
681 @subsection Unmetered music
683 Bar lines and bar numbers are calculated automatically. For unmetered
684 music (e.g. cadenzas), this is not desirable. The property
685 @code{Score.timing} can be used to switch off this automatic timing
687 @lilypond[fragment,relative,singleline,verbatim]
689 \property Score.timing = ##f
691 \property Score.timing = ##t
695 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
696 achieve the same effect.
702 @subsection Bar lines
706 @cindex measure lines
713 This is a shortcut for doing
715 \property Score.whichBar = @var{bartype}
718 You are encouraged to use @code{\repeat} for repetitions. See
722 @cindex Bar_line_engraver
724 @cindex repeatCommands
725 @cindex defaultBarType
727 Whenever @code{whichBar} is set to a string, a bar line of that type is
728 created. @code{whichBar} is usually set automatically: at the start of
729 a measure it is set to @code{defaultBarType}. The contents of
730 @code{repeatCommands} is used to override default measure bars.
732 @code{whichBar} can also be set directly, using @code{\property} or
733 @code{\bar }. These settings take precedence over the automatic
734 @code{whichBar} settings.
736 @code{Bar_engraver} creates @code{BarLine} grobs.
743 Polyphonic parts, i.e. parts with more than one voice on a staff can be
744 typeset with LilyPond. To use this, instantiate a separate Voice
745 context for each part, and assign a stem direction to each part.
746 @lilypond[fragment,verbatim]
748 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
749 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
752 When there are more than two voices on a staff, you must also indicate
753 which voice should moved horizontally in case of a collision. This can
754 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
755 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
756 in @code{NoteColumn}).
758 @lilypond[fragment, verbatim]
759 \context Staff \notes\relative c''<
766 \context Voice=three {
767 \shiftOnn \stemUp ais
769 \context Voice=four {
770 \shiftOnnn \stemUp fis
775 The most convenient way is to use the identifiers @code{\voiceOne}
776 through @code{\voiceFour}, which also set slur and tie directions in the
779 @lilypond[singleline, verbatim]
781 \context Staff < \context Voice = VA { \voiceOne cis2 b }
782 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
783 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
786 Normally, note heads with a different number of dots are not merged, but
787 if you set the grob property @code{merge-differently-dotted}, they are:
789 @lilypond[verbatim,fragment,singleline]
791 \context Voice = VA { \voiceOne
793 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
796 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
800 LilyPond also vertically shifts rests that are opposite of a stem.
802 @lilypond[singleline,verbatim]
804 \context Voice { \stemUp c''4 }
805 \context Voice =VB { r4 }
809 Note head collisions (horizontal shifting of note heads) are handled by
810 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
813 @cindex @code{NoteCollision}
814 @cindex @code{RestCollision}
819 Resolving collisions is a very intricate subject, and LilyPond only
820 handles a few situations. When it can not cope, you are advised to use
821 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
822 the Rest grob to override typesetting decisions.
827 Beams are used to group short notes into chunks that are aligned with
828 the metrum. LilyPond guesses where beams should be inserted. If you're
829 not satisfied with the automatic beaming, you can specify which patterns
830 to beam automatically. In specific cases, you can also enter the beams
834 @c . {Automatic beams}
835 @subsection Automatic beams
837 @cindex @code{Voice.autoBeamSettings}
838 @cindex @code{(end * * * *)}
839 @cindex @code{(begin * * * *)}
842 In normal time signatures, automatic beams can start on any note but can
843 only end in a few positions within the measure: beams can end on a beat,
844 or at durations specified by the properties in
845 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
846 are defined in @file{scm/auto-beam.scm}.
848 The value of @code{autoBeamSettings} is changed using
849 @code{\override} and unset using @code{\revert}:
851 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
852 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
854 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
855 whether the rule applies to begin or end-points. The quantity
856 @var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
857 be entered to designate all time signatures), @var{P}/@var{Q} refers to
858 the length of the beamed notes (and `@code{* *}' designates notes of any
861 For example, if you want automatic beams to end on every quarter note,
862 you can use the following:
864 \property Voice.autoBeamSettings \override
865 #'(end * * * *) = #(make-moment 1 4)
867 Since the duration of a quarter note is 1/4 of a whole note, it is
868 entered as @code{(make-moment 1 4)}.
870 The same syntax can be used to specify beam starting points. In this
871 example, automatic beams can only end on a dotted quarter note.
873 \property Voice.autoBeamSettings \override
874 #'(end * * * *) = #(make-moment 3 8)
876 In 4/4 time signature, this means that automatic beams could end only on
877 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
878 3/8 has passed within the measure).
880 You can also restrict rules to specific time signatures. A rule that
881 should only be applied in @var{N}/@var{M} time signature is formed by
882 replacing the first asterisks by @var{N} and @var{M}. For example, a
883 rule for 6/8 time exclusively looks like
885 \property Voice.autoBeamSettings \override
886 #'(begin 6 8 * *) = ...
889 If you want a rule to apply to certain types of beams, you can use the
890 second pair of asterisks. Beams are classified according to the shortest
891 note they contain. For a beam ending rule that only applies to beams
892 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
896 @c Automatic beams can not be put on the last note in a score.
898 If a score ends while an automatic beam has not been ended and is still
899 accepting notes, this last beam will not be typeset at all.
901 @cindex automatic beam generation
903 @cindex @code{Voice.noAutoBeaming}
905 Automatic beaming is on by default, but can be switched off by setting
906 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
907 a melody that goes with lyrics.
911 It is not possible to specify beaming parameters for beams with mixed
912 durations, that differ from the beaming parameters of all separate
913 durations, i.e., you'll have to specify manual beams to get:
914 @lilypond[fragment,singleline,relative]
915 \property Voice.autoBeamSettings
916 \override #'(end * * * *) = #(make-moment 3 8)
917 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
920 It is not possible to specify beaming parameters that act differently in
921 different parts of a measure. This means that it is not possible to use
922 automatic beaming in irregular meters such as @code{5/8}.
925 @cindex Automatic beams
926 @subsection Manual beams
927 @cindex beams, manual
931 In some cases it may be necessary to override LilyPond's automatic
932 beaming algorithm. For example, the auto beamer will not beam over
933 rests or bar lines, If you want that, specify the begin and end point
934 manually using a @code{[} before the first beamed note and a @code{]}
937 @lilypond[fragment,relative,verbatim]
939 r4 [r8 g'' a r8] r8 [g | a] r8
942 Whenever an manual beam is busy, the automatic beamer will not produce
945 @cindex @code{stemLeftBeamCount}
947 Normally, beaming patterns within a beam are determined automatically.
948 When this mechanism fouls up, the properties
949 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
950 be used to control the beam subdivision on a stem. If you set either
951 property, it's value will be used only once, and then it is erased.
953 @lilypond[fragment,relative,verbatim]
956 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
959 @cindex @code{stemRightBeamCount}
961 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
962 beams) can be tweaked through grob-properties @code{height} and
963 @code{staff-position}. These specify vertical location and vertical
964 span. Both are measured in half staff-spaces, @code{staff-position=0}
965 corresponds to the middle staff line.
968 Set @code{height} to zero, to get horizontal beams:
970 @lilypond[fragment,relative,verbatim]
971 \property Voice.Beam \set #'direction = #1
972 \property Voice.Beam \set #'height = #0
976 Here's how you'd specify a weird looking beam that instead of being
977 horizontal, falls two staff spaces:
979 @lilypond[fragment,relative,verbatim]
980 \property Voice.Beam \set #'staff-position = #4
981 \property Voice.Beam \set #'height = #-4
984 @cindex @code{default-neutral-direction}
986 @node Expressive marks
987 @section Expressive marks
1002 A slur indicates that notes are to be played bound or @emph{legato}.
1003 They are entered using parentheses:
1005 @lilypond[fragment,verbatim,center]
1006 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1010 Slurs avoid crossing stems, and are generally attached to note heads.
1011 However, in some situations with beams, slurs may be attached to stem
1012 ends. If you want to override this layout you can do this through the
1013 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
1014 pair of symbols, specifying the attachment type of the left and right end points.
1016 @lilypond[fragment,relative,verbatim]
1017 \property Voice.Slur \set #'direction = #1
1018 \property Voice.Stem \set #'length = #5.5
1020 \property Voice.Slur \set #'attachment = #'(stem . stem)
1024 If a slur would strike through a stem or beam, the slur will be moved
1025 away upward or downward. If this happens, attaching the slur to the
1026 stems might look better:
1028 @lilypond[fragment,relative,verbatim]
1029 \property Voice.Stem \set #'direction = #1
1030 \property Voice.Slur \set #'direction = #1
1032 \property Voice.Slur \set #'attachment = #'(stem . stem)
1037 Similarly, the curvature of a slur is adjusted to stay clear of note
1038 heads and stems. When that would increase the curvature too much, the
1039 slur is reverted to its default shape. The threshold for this decision
1040 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1041 related to the enclosed area between the slur and the notes. Usually,
1042 the default setting works well, but in some cases you may prefer a
1043 curved slur when LilyPond decides for a vertically moved one. You can
1044 indicate this preference by increasing the @code{beautiful} value:
1046 @lilypond[verbatim,singleline,relative]
1047 \property Voice.Beam \override #'direction = #-1
1048 \property Voice.Slur \override #'direction = #1
1049 c'16( a' f' a a f a, )c,
1050 c( a' f' a a f d, )c
1051 \property Voice.Slur \override #'beautiful = #5.0
1052 c( a' f' a a f d, )c
1057 @code{beautiful} is an arbitrary parameter in the slur formatter.
1058 Useful values can only be determined by trial and error.
1060 @cindex Adjusting slurs
1063 @subsection Phrasing slur
1065 @cindex phrasing slur
1066 @cindex phrasing mark
1068 A phrasing slur (or phrasing mark) connects chords and is used to
1069 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1072 @lilypond[fragment,verbatim,center,relative]
1073 \time 6/4 c''\((d)e f(e)\)d
1076 Typographically, the phrasing slur behaves almost exactly like a normal
1077 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1080 @subsection Breath marks
1082 Breath marks are entered using @code{\breathe}. The result is a
1083 @code{Voice.BreathingSign} grob.
1085 @lilypond[fragment,relative]
1094 Currently, only tick marks are supported, not comma style breath marks.
1101 @cindex beats per minute
1102 @cindex metronome marking
1104 Metronome settings can be entered as follows:
1106 @cindex @code{\tempo}
1108 \tempo @var{duration} = @var{perminute}
1111 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1116 The tempo setting is not printed, but is only used in the MIDI
1117 output. You can trick lily into producing a metronome mark,
1118 though. Details are in @ref{Text markup}.
1123 @subsection Text spanner
1124 @cindex Text spanner
1126 Some textual indications, e.g. rallentando, accelerando, often extend
1127 over many measures. This is indicated by following the text with a
1128 dotted line. You can create such texts using text spanners. The syntax
1131 \spanrequest \start "text"
1132 \spanrequest \stop "text"
1134 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1135 string to be printed, as well as the style is set through grob
1138 An application---or rather, a hack---is to fake octavation indications.
1139 @lilypond[fragment,relative,verbatim]
1140 \relative c' { a''' b c a
1141 \property Voice.TextSpanner \set #'type = #'dotted-line
1142 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1143 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1144 \property Staff.centralCPosition = #-13
1145 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1163 @subsection Articulation
1164 @cindex Articulation
1166 @cindex articulations
1170 A variety of symbols can appear above and below notes to indicate
1171 different characteristics of the performance. These symbols can be
1172 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1173 are defined in @file{script.ly}. Symbols can be forced to appear above
1174 or below the note by writing `@var{note}@code{^\}@var{name}' and
1175 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1176 symbols on notes, with the name of the corresponding symbol appearing
1182 \property Score.LyricSyllable \override #'font-family =#'typewriter
1183 \property Score.LyricSyllable \override #'font-shape = #'upright
1184 \context Staff \notes {
1185 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1186 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1187 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1188 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1189 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1190 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1191 c''-\thumb c''-\segno c''-\coda
1193 \context Lyrics \lyrics {
1194 accent__ marcato__ staccatissimo__ fermata
1195 stopped__ staccato__ tenuto__ upbow
1196 downbow__ lheel__ rheel__ ltoe
1197 rtoe__ turn__ open__ flageolet
1198 reverseturn__ trill__ prall__ mordent
1199 prallprall__ prallmordent__ uprall__ downprall
1200 thumb__ segno__ coda
1204 linewidth = 5.875\in
1210 To save typing work, some shorthands are available:
1211 @lilypond[singleline]
1213 \notes \context Voice {
1214 \property Voice.TextScript \set #'font-family = #'typewriter
1215 \property Voice.TextScript \set #'font-shape = #'upright
1221 c''4-^_"c-\\^{ }" s4
1228 Fingering instructions can also be entered in this shorthand.
1229 @lilypond[verbatim, singleline, fragment]
1230 c'4-1 c'4-2 c'4-3 c'4-4
1234 @cindex @code{\script}
1239 You can add scripts by editing @file{scm/script.scm}. This file contains
1240 a table, listing script definitions and aliases. The following syntax
1241 accesses a script definition from the table:
1247 Usually the @code{\script} keyword is not used directly. Various
1248 helpful identifier definitions appear in @file{script.ly}.
1250 Grobs for these objects are @code{Script} and @code{Fingering}.
1254 All of these note ornaments appear in the printed output but have no
1255 effect on the MIDI rendering of the music.
1257 Unfortunately, there is no support for adding fingering instructions or
1258 ornaments to individual note heads. Some hacks exist, though. See
1259 @file{input/test/script-horizontal.ly}.
1264 @subsection Text scripts
1265 @cindex Text scripts
1267 In addition, it is possible to place arbitrary strings of text or markup
1268 text (see @ref{Text markup}) above or below notes by using a string:
1271 By default, these indications do not influence the note spacing, but
1272 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1273 into account. The identifier @code{\fatText} is defined in the standard
1275 @lilypond[fragment,singleline,verbatim]
1276 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1279 Text scripts are created in form of @code{Voice.TextScript} grobs.
1281 @ref{Text markup} describes how to change the font or access
1282 special symbols in text scripts.
1286 @subsection Grace notes
1295 @cindex @code{\grace}
1298 @cindex @code{graceAlignPosition}
1300 Grace notes are ornaments that are written out, but do not take up any
1301 logical time in a measure. LilyPond has limited support for grace notes.
1302 The syntax is as follows.
1304 \grace @var{musicexpr}
1307 When grace music is interpreted, a score-within-a-score is set up:
1308 @var{musicexpr} has its own time bookkeeping, and you could (for
1309 example) have a separate time signature within the grace notes. While in
1310 this score-within-a-score, you can create notes, beams, slurs, etc.
1311 Unbeamed eighth notes and shorter by default have a slash through the
1314 @lilypond[fragment,verbatim]
1316 \grace c8 c4 \grace { [c16 c16] } c4
1317 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1322 A grace note expression has duration 0; the next real note is assumed to
1323 be the main note. If you want the note to appear after the main note,
1324 set @code{Voice.graceAlignPosition} to @code{1}.
1328 At present, slurs or ties from the grace notes to the following notes
1329 are not supported. Also, nesting @code{\grace} notes is not
1330 supported. The following may cause run-time errors:
1332 @code{\grace @{ \grace c32 c16 @} c4}
1334 Since the meaning of such a construct is unclear, we don't consider this
1335 a loss. Similarly, juxtaposing two @code{\grace} sections is
1336 syntactically valid, but makes no sense and may cause runtime errors.
1337 Ending a staff or score with grace notes may also generate a run-time
1338 error, since there will be no main note to attach the grace notes to.
1340 The present implementation of grace notes is not robust and generally
1341 kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
1342 also be implemented.
1353 @subsection Glissando
1356 @cindex @code{\glissando}
1358 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1359 @code{\glissando} to a note:
1361 @lilypond[fragment,relative,verbatim]
1367 Printing of an additional text (such as @emph{gliss.}) must be done
1374 @subsection Dynamics
1387 @cindex @code{\ffff}
1397 Absolute dynamic marks are specified using an identifier after a
1398 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1399 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1400 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1401 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1403 @lilypond[verbatim,singleline,fragment,relative]
1404 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1410 @cindex @code{\decr}
1411 @cindex @code{\rced}
1417 A crescendo mark is started with @code{\cr} and terminated with
1418 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1419 started with @code{\decr} and terminated with @code{\rced}. There are
1420 also shorthands for these marks. A crescendo can be started with
1421 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1422 can be terminated with @code{\!}. Note that @code{\!} must go before
1423 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1424 after the last note. Because these marks are bound to notes, if you
1425 want several marks during one note, you have to use spacer notes.
1427 @lilypond[fragment,verbatim,center]
1428 c'' \< \! c'' d'' \decr e'' \rced
1429 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1432 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1433 is an example how to do it:
1438 @lilypond[fragment,relative,verbatim]
1440 \property Voice.crescendoText = "cresc."
1441 \property Voice.crescendoSpanner = #'dashed-line
1446 For everyday use, we recommend the identifiers @code{\cresc},
1447 @code{endcresc}, @code{\dim} and @code{\enddim}.
1451 Dynamics are grobs of @code{Voice.DynamicText} and
1452 @code{Voice.Hairpin}. They are put together on
1453 @code{Voice.DynamicLineSpanner} to align them vertically.
1462 @cindex @code{\repeat}
1464 To specify repeats, use the @code{\repeat} keyword. Since repeats
1465 should work differently when played or printed, there are a few
1466 different variants of repeats.
1470 Repeated music is fully written (played) out. Useful for MIDI
1471 output, and entering repetitive music.
1474 This is the normal notation: Repeats are not written out, but
1475 alternative endings (voltas) are printed, left to right.
1478 Alternative endings are written stacked. This has limited use but may be
1479 used to typeset two lines of lyrics in songs with repeats, see
1480 @file{input/star-spangled-banner.ly}.
1486 Make measure repeats. These look like percent signs.
1492 * Manual repeat commands::
1494 * Tremolo subdivision::
1499 @subsection Repeat syntax
1501 The syntax for repeats is
1504 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1507 If you have alternative endings, you may add
1508 @cindex @code{\alternative}
1510 \alternative @code{@{} @var{alternative1}
1512 @var{alternative3} @dots{} @code{@}}
1514 where each @var{alternative} is a music expression.
1516 Normal notation repeats are used like this:
1517 @lilypond[fragment,verbatim]
1519 \repeat volta 2 { c'4 d' e' f' }
1520 \repeat volta 2 { f' e' d' c' }
1523 With alternative endings:
1524 @lilypond[fragment,verbatim]
1526 \repeat volta 2 {c'4 d' e' f'}
1527 \alternative { {d'2 d'} {f' f} }
1530 Folded repeats look like this:
1533 @lilypond[fragment,verbatim]
1535 \repeat fold 2 {c'4 d' e' f'}
1536 \alternative { {d'2 d'} {f' f} }
1540 If you don't give enough alternatives for all of the repeats, then
1541 the first alternative is assumed to be repeated often enough to equal
1542 the specified number of repeats.
1544 @lilypond[fragment,verbatim]
1548 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1549 \alternative { { g4 g g } { a | a a a a | b2. } }
1556 Notice that timing information is not remembered at the start of an
1557 alternative, so you have to reset timing information after a repeat,
1558 e.g. using a bar-check (See @ref{Bar check}), setting
1559 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1560 are also not repeated.
1562 It is possible to nest @code{\repeat}s, although this probably is only
1563 meaningful for unfolded repeats.
1565 Folded repeats offer little more over simultaneous music. However, it
1566 is to be expected that more functionality -- especially for the MIDI
1567 backend -- will be implemented at some point in the future.
1569 Volta repeats are printed over all staffs in a score. You must turn them
1570 off explicitly, for example by doing
1572 \property Staff.VoltaBracket = \turnOff
1575 @node Manual repeat commands
1576 @subsection Manual repeat commands
1578 @cindex @code{repeatCommands}
1580 The property @code{repeatCommands} can be used to control the layout of
1581 repeats. Its value is a Scheme list of repeat commands, where each repeat
1589 @item (volta . @var{text})
1590 Print a volta bracket saying @var{text}.
1592 Stop a running volta bracket
1595 @lilypond[verbatim, fragment]
1597 \property Score.repeatCommands = #'((volta "93") end-repeat)
1599 \property Score.repeatCommands = #'((volta #f))
1604 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1606 @node Tremolo repeats
1607 @subsection Tremolo repeats
1608 @cindex tremolo beams
1610 To place tremolo marks between notes, use @code{\repeat} with tremolo
1612 @lilypond[verbatim,center,singleline]
1614 \context Voice \notes\relative c' {
1615 \repeat "tremolo" 8 { c16 d16 }
1616 \repeat "tremolo" 4 { c16 d16 }
1617 \repeat "tremolo" 2 { c16 d16 }
1618 \repeat "tremolo" 4 c16
1623 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1624 @code{Voice.StemTremolo}.
1629 At present, the spacing between tremolo beams is not regular, since the
1630 spacing engine does not notice that not all notes are printed.
1632 @node Tremolo subdivision
1633 @subsection Tremolo subdivision
1634 @cindex tremolo marks
1635 @cindex @code{tremoloFlags}
1637 Tremolo marks can be printed on a single note by adding
1638 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1639 A @var{length} value of 8 gives one line across the note stem. If the
1640 length is omitted, then then the last value (stored in
1641 @code{Voice.tremoloFlags}) is used.
1643 @lilypond[verbatim,fragment,center]
1644 c'2:8 c':32 | c': c': |
1646 Using this mechanism pays off when you enter many tremolos, since the
1647 default argument saves typing.
1652 Tremolos in this style do not carry over into the MIDI output.
1655 @node Measure repeats
1656 @subsection Measure repeats
1658 @cindex percent repeats
1659 @cindex measure repeats
1661 In the @code{percent} style, a note pattern can be repeated. It is
1662 printed once, and then the pattern is replaced with a special sign.
1663 Patterns of a one and two measures are replaced by percent signs,
1664 patterns that divide the measure length are replaced by slashes.
1666 @lilypond[verbatim,singleline]
1667 \context Voice { \repeat "percent" 4 { c'4 }
1668 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1672 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1673 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1677 You can not nest percent repeats, e.g. by filling in the first measure
1678 with slashes, and repeating that measure with percents.
1680 @node Rhythmic music
1681 @section Rhythmic music
1688 @node Rhythmic staffs
1689 @subsection Rhythmic staffs
1691 Sometimes you might want to show only the rhythm of a melody. This can
1692 be done with the rhythmic staff. All pitches of notes on such a staff
1693 are squashed, and the staff itself looks has a single staff line:
1695 @lilypond[fragment,relative,verbatim]
1696 \context RhythmicStaff {
1698 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1705 @section Piano music
1707 Piano music is an odd type of notation. Piano staffs are two normal
1708 staffs coupled with a brace. The staffs are largely independent, but
1709 sometimes voices can cross between the two staffs. The
1710 @code{PianoStaff} is especially built to handle this cross-staffing
1711 behavior. In this section we discuss the @code{PianoStaff} and some
1712 other pianistic peculiarities.
1715 * Automatic staff changes::
1716 * Manual staff switches::
1719 * Voice follower line::
1723 @c . {Automatic staff changes}
1724 @node Automatic staff changes
1725 @subsection Automatic staff changes
1726 @cindex Automatic staff changes
1728 Voices can switch automatically between the top and the bottom
1729 staff. The syntax for this is
1731 \autochange @var{contexttype} @var{musicexp}
1733 This will switch the interpretation context of @var{musicexp} between a
1734 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1735 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1736 of pitch (central C is the turning point), and it looks ahead skipping
1737 over rests to switch rests in advance.
1739 @lilypond[verbatim,singleline]
1740 \score { \notes \context PianoStaff <
1741 \context Staff = "up" {
1742 \autochange Staff \context Voice = VA < \relative c' {
1743 g4 a b c d r4 a g } > }
1744 \context Staff = "down" {
1750 Note how spacer rests are used to prevent the bottom staff from
1751 terminating too soon.
1754 @node Manual staff switches
1755 @subsection Manual staff switches
1757 @cindex manual staff switches
1758 @cindex staff switch, manual
1760 Voices can be switched between staffs manually, using the following command:
1762 \translator Staff = @var{staffname} @var{music}
1764 The string @var{staffname} is the name of the staff. It switches the
1765 current voice from its current staff to the Staff called
1766 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1769 The formal definition of this construct is obtuse, but for the sake of
1770 completeness we give it here.
1771 @cindex @code{\translator}
1773 \translator @var{contexttype} = @var{name}
1775 Formally, this construct is a music expression indicating
1776 that the context which is a direct child of the context of type
1777 @var{contexttype} should be shifted to a context of type
1778 @var{contexttype} and the specified name.
1786 Piano pedal instruction can be expressed using
1787 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1788 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1790 These identifiers are shorthands for spanner commands of the types
1791 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1793 @lilypond[fragment,verbatim]
1794 c''4 \spanrequest \start "Sustain" c''4
1795 c''4 \spanrequest \stop "Sustain"
1798 The symbols that are printed can be modified by setting
1799 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1800 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1806 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1812 @subsection Arpeggio
1815 @cindex broken arpeggio
1816 @cindex @code{\arpeggio}
1818 You can specify an arpeggio sign on a chord by attaching an
1819 @code{\arpeggio} to a note of the chord.
1822 @lilypond[fragment,relative,verbatim]
1823 \context Voice <c'\arpeggio e g c>
1826 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1827 to the chords in both staffs, and set
1828 @code{PianoStaff.connectArpeggios}.
1830 @lilypond[fragment,relative,verbatim]
1831 \context PianoStaff <
1832 \property PianoStaff.connectArpeggios = ##t
1833 \context Voice = one { <c''\arpeggio e g c> }
1834 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1838 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1839 are @code{PianoStaff.Arpeggio}.
1843 It is not possible to mix connected arpeggios and unconnected arpeggios
1848 @node Voice follower line
1849 @subsection Voice follower line
1851 @cindex follow voice
1852 @cindex staff switching
1855 @cindex @code{followVoice}
1857 Whenever a voice switches to another staff a line connecting the notes
1858 can be printed automatically. This is enabled if the property
1859 @code{PianoStaff.followVoice} is set to true:
1861 @lilypond[fragment,relative,verbatim]
1862 \context PianoStaff <
1863 \property PianoStaff.followVoice = ##t
1864 \context Staff \context Voice {
1866 \translator Staff=two
1869 \context Staff=two {\clef bass \skip 1*2 }
1873 The associated grob is @code{Voice.VoiceFollower}.
1883 * Automatic syllable durations::
1889 @subsection Lyrics mode
1892 To print lyrics, you must first make a music expression from the lyric
1893 text. That music expression can be printed by selecting an appropriate
1897 @cindex @code{\lyrics}
1899 You can enter lyrics in a special input mode of LilyPond. This mode is
1900 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1901 The purpose of this mode is that you can enter lyrics as plain text,
1902 punctuation and accents without any hassle.
1904 Syllables are entered like notes, with pitches replaced by text. For
1905 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1906 the hyphen has no special meaning for lyrics, and does not introduce
1909 Spaces can be introduced into a lyric either by using quotes:
1910 @code{"He could"4 not4} or by using an underscore without quotes:
1911 @code{He_could4 not4}. All unquoted underscores are converted to
1914 The precise definition of this mode is in @ref{Lyrics mode
1917 @c . {Printing lyrics}
1918 @node Printing lyrics
1919 @subsection Printing lyrics
1922 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1924 @lilypond[verbatim,singleline]
1925 \addlyrics \notes \relative c' {
1927 \property Staff.automaticMelismata = ##t
1928 d'2 c4 b16 ( a g a b a b ) c a2
1929 b2 c4 b8 ( a16 g ) a4 g2 }
1930 \context Lyrics \lyrics {
1932 share the soft -- ware; }
1936 Notes and syllable durations are matched automatically. This is
1937 accomplished using @code{\addlyrics}, which is documented in
1938 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1939 the melody staff will cause slurs to be interpreted as melismata.
1941 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1944 @cindex lyric extender
1947 As you can see, extender lines are entered as @code{__}. This will
1948 create an extender, a line that extends over the entire duration of the
1949 lyric. This line will run all the way to the start of the next lyric,
1950 so you may want to shorten it by using a blank lyric (using @code{_}).
1951 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1956 If you want to have hyphens centered between syllables (rather than
1957 attached to the end of the first syllable) you can use the special
1958 `@code{-}@code{-}' lyric as a separate word between syllables. This
1959 will result in a hyphen whose length varies depending on the space
1960 between syllables. It will be centered between the syllables. The grob
1961 for this symbol is @code{LyricsVoice.LyricHyphen}.
1963 @cindex Lyric hyphen
1965 @node Automatic syllable durations
1966 @subsection Automatic syllable durations
1967 @cindex Automatic syllable durations
1969 @cindex automatic lyric durations
1970 @cindex @code{\addlyrics}
1972 If you have lyrics that are set to a melody, you can copy the rhythm
1973 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1976 \addlyrics @var{musicexpr1 musicexpr2}
1979 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
1980 music event (``every syllable'') in @var{musicexpr2} is interpreted only
1981 when there are events in @var{musicexpr1}.
1983 @cindex @code{automaticMelismata}
1985 If the property @code{automaticMelismata} is set in the
1986 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1989 @lilypond[verbatim,fragment]
1992 \property Voice.automaticMelismata = ##t
1993 c8 () cis d8. e16 f2
1995 \context Lyrics \lyrics {
1999 If you want the lyric lines to be above the melody staff, or in some
2000 other, more complex configuration, then build that configuration first
2001 using simultaneous music, and use @code{\addlyrics} after that.
2003 @lilypond[verbatim, singleline]
2005 \context Lyrics = LA { s1 }
2006 \context Staff = SA { s1 }
2008 \context Staff = SA \relative c' { c4 e g g }
2009 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2012 For @code{\addlyrics} you should use a single rhythm melody, and single
2013 rhythm lyrics (a constant duration is the obvious choice). If you do
2014 not, you can get undesired effects when using multiple stanzas:
2016 @lilypond[verbatim,fragment]
2019 c8 () cis d8. e16 f2
2021 \context Lyrics \lyrics
2026 It is valid (but probably not very useful) to use notes instead of
2027 lyrics for @var{musicexpr2}.
2030 @subsection More stanzas
2034 If you have multiple stanzas printed underneath each other, the vertical
2035 groups of syllables should be aligned around punctuation. LilyPond can
2036 do this if you tell it which lyric lines belong to which melody.
2038 To this end, give the Voice context an identity, and set the LyricsVoice
2039 to a name starting with that identity followed by a dash.
2040 In the following example, the Voice
2041 identity is @code{duet}, and the identities of the LyricsVoices are
2042 @code{duet-1} and @code{duet-2}.
2045 @lilypond[singleline,verbatim]
2048 \notes \relative c'' \context Voice = duet { \time 3/4
2050 \lyrics \context Lyrics <
2051 \context LyricsVoice = "duet-1" {
2052 \property LyricsVoice . stanza = "Bert"
2053 Hi, my name is bert. }
2054 \context LyricsVoice = "duet-2" {
2055 \property LyricsVoice . stanza = "Ernie"
2056 Ooooo, ch\'e -- ri, je t'aime. }
2061 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2062 first system) and @code{LyricsVoice.stz} for the following
2063 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2069 @cindex stanza numbering
2077 LilyPond has support for both entering and printing chords. Chords are
2078 characterized by a set of pitches. They are
2079 internally stored as simultaneous music expressions. This means you can
2080 enter chords by name and print them as note head, enter them as notes
2081 and print them as chord names, or (the most common case) enter them by
2082 name, and print them as name.
2085 @lilypond[verbatim,singleline]
2086 twoWays = \notes \transpose c'' {
2096 < \context ChordNames \twoWays
2097 \context Voice \twoWays > }
2100 Note that this example also shows that the chord printing routines do
2101 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2102 interpret this as an inversion.
2106 * Printing named chords::
2111 @subsection Chords mode
2114 Chord mode is a mode where you can input sets of pitches using common
2115 names. It is introduced by the keyword @code{\chords}. It is similar
2116 to note mode, but words are also looked up in a chord modifier table
2117 (containing @code{maj}, @code{dim}, etc).
2119 Dashes and carets are used to indicate chord additions and subtractions,
2120 so articulation scripts can not be entered in Chord mode.
2122 The syntax for named chords is as follows:
2124 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2127 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2128 the chord duration in the usual notation. There are two kinds of
2129 modifiers. One type is formed by @emph{chord additions}. Additions are
2130 obtained by listing intervals separated by dots. An interval is written
2131 by its number with an optional @code{+} or @code{-} to indicate raising
2132 or lowering by half a step. Chord additions have two effects: they adds
2133 the specified interval and all lower odd numbered intervals to the
2134 chord, and they may lower or raise the specified interval.
2136 Throughout these examples, chords have been shifted around the staff
2137 using @code{\transpose}.
2139 @lilypond[fragment,verbatim]
2143 c:9 c:9-.5+.7+ c:3-.5-
2153 The second type of modifier that may appear after the @code{:} is a
2154 named modifier. Named modifiers are listed in the file
2155 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2156 @code{min} which lower the 3rd half a step, `@code{aug}' which
2157 raises the 5th, `@code{dim}' which lowers the 5th,
2158 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2159 which replaces the 5th with a 4th.
2161 @lilypond[fragment,verbatim]
2164 c1:m c:min7 c:maj c:aug c:dim c:sus
2170 Chord subtractions are used to eliminate notes from a chord. The
2171 notes to be subtracted are listed after a @code{^} character,
2174 @lilypond[fragment,verbatim,center]
2183 Chord inversions can be specified by appending `@code{/}' and the name
2184 of a single note to a chord. In a chord inversion, the inverted note is
2185 transposed down until it is the lowest note in the chord. If the note
2186 is not in the chord, a warning will be printed.
2188 @lilypond[fragment,verbatim,center]
2198 Bass notes can be added by `@code{/+}' and
2199 the name of a single note to a chord. This has the effect of
2200 adding the specified note to the chord, lowered by an octave,
2201 so it becomes the lowest note in the chord.
2203 @lilypond[fragment,verbatim,center]
2214 Implementation details are quite gory. For example @code{c:4} not only
2215 adds a fourth, but also removes the third.
2218 @c . {Printing named chords}
2219 @node Printing named chords
2220 @subsection Printing named chords
2222 @cindex printing chord names
2225 @cindex @code{ChordNames}
2228 For displaying printed chord names, use the @code{ChordNames} context.
2229 The chords may be entered either using the notation described above, or
2230 directly using simultaneous music.
2232 @lilypond[verbatim,singleline]
2234 \chords {a1 b c} <d f g> <e g b>
2238 \context ChordNames \scheme
2239 \context Staff \transpose c'' \scheme
2244 You can make the chord changes stand out by setting
2245 @code{ChordNames.chordChanges} to true. This will only display chord
2246 names when there's a change in the chords scheme and at the start of the
2251 c1:m c:m \break c:m c:m d
2255 \context ChordNames {
2256 \property ChordNames.chordChanges = ##t
2258 \context Staff \transpose c'' \scheme
2262 LilyPond examines chords specified as lists of notes to determine a name
2263 to give the chord. LilyPond will not try to identify chord inversions or
2264 an added bass note, which may result in strange chord names when chords
2265 are entered as a list of pitches:
2267 @lilypond[verbatim,center,singleline]
2276 \context ChordNames \scheme
2277 \context Staff \scheme
2283 By default, a chord name system proposed by Harald Banter (See
2284 @ref{Literature}) is used. The system is very regular and predictable.
2285 Typical American style chord names may be selected by setting the
2286 @code{style} property of the @code{ChordNames.ChordName} grob to
2287 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2289 Routines that determine the names to be printed are written in Scheme,
2290 and may be customized by the user. The code can be found in
2291 @file{scm/chord-name.scm}. Here's an example showing the differences in
2295 @c maybe just junk verbatim option?
2296 @lilypond[verbatim,singleline]
2306 \context ChordNames = banter \scheme
2307 \context ChordNames = american {
2308 \property ChordNames.ChordName \override
2309 #'style = #'american \scheme }
2310 \context ChordNames = jazz {
2311 \property ChordNames.ChordName \override
2312 #'style = #'jazz \scheme }
2313 \context Staff \transpose c'' \scheme
2320 @section Writing parts
2322 Orchestral music involves some special notation, both in the full score,
2323 as in the individual parts. This section explains how to tackle common
2324 problems in orchestral music.
2331 * Instrument names::
2333 * Sound output for transposing instruments::
2334 * Multi measure rests::
2335 * Automatic part combining::
2336 * Hara kiri staffs::
2339 @c . {Rehearsal marks}
2340 @node Rehearsal marks
2341 @subsection Rehearsal marks
2342 @cindex Rehearsal marks
2344 @cindex @code{\mark}
2345 @cindex @code{Mark_engraver}
2348 \mark @var{unsigned}
2353 This command prints a rehearsal mark above the system. You can provide
2354 a number, a string or a markup text as argument. If you use
2355 @code{\default}, the value of property @code{rehearsalMark} is used and
2356 automatically incremented.
2358 @lilypond[fragment,verbatim]
2364 c1 \mark #'(music "scripts-segno")
2369 The grob is @code{Score.RehearsalMark}. See
2370 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2373 @subsection Bar numbers
2375 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2376 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2380 It is not possible to have bar numbers printed at regular intervals
2383 @node Instrument names
2384 @subsection Instrument names
2386 You can specify an instrument name for a staff by setting
2387 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2388 before the start of the staff. For the first start, @code{instrument} is
2389 used, for the next ones @code{instr} is used.
2391 @lilypond[verbatim,singleline]
2392 \property Staff.instrument = "ploink " { c''4 }
2395 You can also use markup texts to construct more complicated instrument
2399 @lilypond[verbatim,singleline]
2401 '((font-relative-size . -2 ) (music "accidentals--1")))
2404 \property Staff.instrument = #`((kern . 0.5) (lines
2405 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2413 When you put a name on a grand staff or piano staff the width of the
2414 brace is not taken into account. You must add extra spaces to the end of
2415 the name to avoid a collision.
2418 @subsection Transpose
2420 @cindex transposition of pitches
2421 @cindex @code{\transpose}
2423 A music expression can be transposed with @code{\transpose}. The syntax
2426 \transpose @var{pitch} @var{musicexpr}
2429 This means that middle C in @var{musicexpr} is transposed to
2432 @code{\transpose} distinguishes between enharmonic pitches: both
2433 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2434 a tone. The first version will print sharps and the second version
2437 @lilypond[fragment,verbatim]
2440 { \key e \major c d e f }
2442 \transpose des'' { \key e \major c d e f }
2443 \transpose cis'' { \key e \major c d e f }
2447 If you want to use both @code{\transpose} and @code{\relative}, then
2448 you must use @code{\transpose} first. @code{\relative} will have no
2449 effect music that appears inside a @code{\transpose}.
2451 @node Sound output for transposing instruments
2452 @subsection Sound output transposing instruments
2454 When you want to play a score containing transposed and untransposed
2455 instruments, you have to instruct LilyPond the pitch offset (in
2456 semitones) for the transposed instruments. This is done using the
2457 @code{transposing} property. It does not affect printed output.
2459 @cindex @code{transposing}
2462 \property Staff.instrument = #"Cl. in B-flat"
2463 \property Staff.transposing = #-2
2467 @c . {Multi measure rests}
2468 @node Multi measure rests
2469 @subsection Multi measure rests
2470 @cindex Multi measure rests
2474 Multi measure rests are entered using `@code{R}'. It is specifically
2475 meant for full bar rests and for entering parts: the rest can expand to
2477 rests, or it can be printed as a single multimeasure rest This expansion
2478 is controlled by the property @code{Score.skipBars}. If this is set to true,
2479 Lily will not expand empty measures, and the appropriate number is added
2482 @lilypond[fragment,verbatim]
2483 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2486 Notice that the @code{R2.} is printed as a whole rest, centered in the
2489 @cindex whole rests for a full measure
2493 Currently, there is no way to condense multiple rests into a single
2496 @cindex condensing rests
2498 @node Automatic part combining
2499 @subsection Automatic part combining
2500 @cindex automatic part combining
2501 @cindex part combiner
2504 Automatic part combining is used to merge two parts of music onto a
2505 staff in an intelligent way. It is aimed primarily at typesetting
2506 orchestral scores. When the two parts are identical for a period of
2507 time, only one is shown. In places where the two parts differ, they are
2508 typeset as separate voices, and stem directions are set automatically.
2509 Also, solo and @emph{a due} parts can be identified and marked.
2511 The syntax for part combining is
2514 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2516 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2517 combined into one context of type @var{context}. The music expressions
2518 must be interpreted by contexts whose names should start with @code{one}
2521 The most useful function of the part combiner is to combine parts into
2522 one voice, as common for wind parts in orchestral scores:
2524 @lilypond[verbatim,singleline,fragment]
2526 \context Voice=one \partcombine Voice
2527 \context Thread=one \relative c'' {
2530 \context Thread=two \relative c'' {
2536 Notice that the first @code{g} appears only once, although it was
2537 specified twice (once in each part). Stem, slur and tie directions are
2538 set automatically, depending whether there is a solo or unisono. The
2539 first part (with context called @code{one}) always gets up stems, and
2540 `solo', while the second (called @code{two}) always gets down stems and
2543 If you just want the merging parts, and not the textual markings, you
2544 may set the property @var{soloADue} to false.
2546 @lilypond[verbatim,singleline,fragment]
2548 \property Staff.soloADue = ##f
2549 \context Voice=one \partcombine Voice
2550 \context Thread=one \relative c'' {
2553 \context Thread=two \relative c'' {
2559 There are a number of other properties that you can use to tweak the
2560 behavior of part combining, refer to the automatically generated
2561 documentation of @reng{Thread_devnull_engraver} and
2562 @reng{Voice_devnull_engraver}. Look at the documentation of the
2563 responsible engravers, @code{Thread_devnull_engraver},
2564 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2568 In @code{soloADue} mode, when the two voices play the same notes on and
2569 off, the part combiner may typeset @code{a2} more than once in a
2572 @lilypond[fragment,singleline]
2574 \context Voice=one \partcombine Voice
2575 \context Thread=one \relative c'' {
2578 \context Thread=two \relative c'' {
2584 @cindex @code{Thread_devnull_engraver}
2585 @cindex @code{Voice_engraver}
2586 @cindex @code{A2_engraver}
2588 @node Hara kiri staffs
2589 @subsection Hara kiri staffs
2591 In orchestral scores, staffs that only have rests are usually removed.
2592 This saves some space. LilyPond also supports this through the hara
2593 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2594 the Japanese Samourai warriors.} staff. This staff commits suicide when
2595 it finds itself to be empty after the line-breaking process. It will
2596 not disappear when it contains normal rests, you must use multi measure
2599 The hara kiri staff is specialized version of the Staff context. It is
2600 available as the context identifier @code{\HaraKiriStaffContext}.
2601 Observe how the second staff in this example disappears in the second
2606 \notes \relative c' <
2607 \context Staff = SA { e4 f g a \break c1 }
2608 \context Staff = SB { c4 d e f \break R1 }
2612 \translator { \HaraKiriStaffContext }
2625 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2626 staff context symbol that appears at the end of a staff line. It
2627 anticipates the pitch of the first note(s) of the following line and
2628 thus helps the player or singer to manage line breaks during
2629 performance, thus enhancing readability of a score.
2634 \property Staff.Custos \set #'style = #'mensural
2639 \consists Custos_engraver
2645 Custodes were frequently used in music notation until the 16th century.
2646 There were different appearances for different notation styles.
2647 Nowadays, they have survived only in special forms of musical notation
2648 such as via the @emph{editio vaticana} dating back to the beginning of
2651 For typesetting custodes, just put a @code{Custos_engraver} into the
2652 @code{StaffContext} when declaring the @code{\paper} block. In this
2653 block, you can also globally control the appearance of the custos symbol
2654 by setting the custos @code{style} property. Currently supported styles
2655 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2662 \consists Custos_engraver
2663 Custos \override #'style = #'mensural
2668 The property can also be set locally, for example in a @code{\notes}
2673 \property Staff.Custos \override #'style = #'vaticana
2674 c'1 d' e' d' \break c' d' e' d'
2678 @c . {Tuning output}
2680 @section Tuning output
2682 LilyPond tries to take as much formatting as possible out of your
2683 hands. Nevertheless, there are situations where it needs some help, or
2684 where you want to override its decisions. In this section we discuss
2685 ways to do just that.
2687 Formatting is internally done by manipulating so called grobs (graphic
2688 objects). Each grob carries with it a set of properties (grob
2689 properties) specific to that object. For example, a stem grob has
2690 properties that specify its direction, length and thickness.
2692 The most direct way of tuning the output is by altering the values of
2693 these properties. There are two ways of doing that: first, you can
2694 temporarily change the definition of a certain type of grob, thus
2695 affecting a whole set of objects. Second, you can select one specific
2696 object, and set a grob property in that object.
2699 * Tuning groups of grobs ::
2700 * Tuning per grob ::
2708 @node Tuning groups of grobs
2709 @subsection Tuning groups of grobs
2711 @cindex grob description
2715 A grob definition is a Scheme association list, that is stored in a
2716 context property. By assigning to that property (using plain
2717 @code{\property}), you can change the resulting grobs.
2719 @lilypond[verbatim, fragment]
2720 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2723 The @code{\property} assignment effectively empties the definition of
2724 the Stem object. One of the effects is the recipe of how it should be
2725 printed is erased, with the effect of rendering it invisible. The above
2726 assignment is available as a standard identifier, for the case that you
2730 \property Voice.Stem = \turnOff
2737 This mechanism is fairly crude, since you can only set, but not modify,
2738 the definition of a grob. For this reason, there is a more advanced
2741 The definition of a grob is actually a list of default grob
2742 properties. For example, the definition of the Stem grob (available in
2743 @file{scm/grob-description.scm}), defines the following values for
2748 (beamed-lengths . (0.0 2.5 2.0 1.5))
2749 (Y-extent-callback . ,Stem::height)
2753 You can add a property on top of the existing definition, or remove a
2754 property, thus overriding the system defaults:
2756 c'4 \property Voice.Stem \override #'thickness = #4.0
2757 c'4 \property Voice.Stem \revert #'thickness
2760 You should balance @code{\override} and @code{\revert}. If that's too
2761 much work, you can use the @code{\set} shorthand. It performs a revert
2762 followed by an override. The following example gives exactly the same
2763 result as the previous one.
2765 c'4 \property Voice.Stem \set #'thickness = #4.0
2766 c'4 \property Voice.Stem \set #'thickness = #0.8
2769 If you use @code{\set}, you must explicitly restore the default.
2772 Formally the syntax for these constructions is
2774 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2775 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2776 \property @var{context}.@var{grobname} \revert @var{symbol}
2778 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2779 and @var{grobname} are strings and @var{value} is a Scheme expression.
2782 If you revert a setting which was not set in the first place, then it
2783 has no effect. However, if the setting was set as a system default, it
2784 may remove the default value, and this may give surprising results,
2785 including crashes. In other words, @code{\override} and @code{\revert},
2786 must be carefully balanced.
2788 These are examples of correct nesting of @code{\override}, @code{\set},
2791 A clumsy but correct form:
2793 \override \revert \override \revert \override \revert
2796 Shorter version of the same:
2798 \override \set \set \revert
2801 A short form, using only @code{\set}. This requires you to know the
2804 \set \set \set \set @var{to default value}
2807 If there is no default (i.e. by default, the grob property is unset),
2810 \set \set \set \revert
2813 For the digirati, the grob description is an Scheme association
2814 list. Since a Scheme list is a singly linked list, we can treat it as a
2815 stack, and @code{\override} and @code{\revert} are just push and pop
2816 operations. This pushing and popping is also used for overriding
2817 automatic beaming settings.
2821 LilyPond will hang or crash if @var{value} contains cyclic references.
2822 The backend is not very strict in type-checking grob properties. If you
2823 @code{\revert} properties that are expected to be set by default,
2826 Some grobs are created at the moment that their context is created. An
2827 example of such a grob is the staff itself (i.e. the horizontal lines).
2828 You can not change the appearance of the staff symbol by manipulating
2829 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2830 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2831 created before any @code{\override} is effective. You can deal with this
2832 either overriding properties in a @code{\translator} definition, or by
2833 using @code{\outputproperty}.
2838 @node Tuning per grob
2839 @subsection Tuning per grob
2841 @cindex \outputproperty
2843 A second way of tuning grobs is the more arcane @code{\outputproperty}
2844 feature. The syntax is as follows:
2846 \outputproperty @var{predicate} @var{symbol} = @var{value}
2848 Here @code{predicate} is a Scheme function taking a grob argument, and
2849 returning a boolean. This statement is processed by the
2850 @code{Output_property_engraver}. It instructs the engraver to feed all
2851 grobs that it sees to @var{predicate}. Whenever the predicate returns
2852 true, the grob property @var{symbol} will be set to @var{value}.
2854 You will need to combine this statement with @code{\context} to select
2855 the appropriate context to apply this to.
2857 Here are some random examples.
2860 In the following example, all note heads occurring at current staff
2861 level, are shifted up and right by setting their @code{extra-offset}
2864 @lilypond[fragment,verbatim,singleline]
2866 \context Staff \outputproperty
2867 #(make-type-checker 'note-head-interface)
2868 #'extra-offset = #'(0.5 . 0.75)
2872 @cindex @code{extra-offset}
2874 In this example, the predicate checks the @code{text} grob property, to
2875 shift only the `m.d.' text, but not the fingering instruction "2".
2876 @lilypond[verbatim,singleline]
2877 #(define (make-text-checker text)
2878 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2881 \notes\relative c''' {
2882 \property Voice.Stem \set #'direction = #1
2883 \outputproperty #(make-text-checker "m.d.")
2884 #'extra-offset = #'(-3.5 . -4.5)
2892 If possible, avoid this feature: the semantics are not very clean, and
2893 the syntax and semantics are up for rewrite.
2899 @subsection What to tune?
2901 This all tells you how to tune grobs, but you don't know what variables
2902 to set? The question is not answered in this manual (although you may
2903 encounter some examples.).
2905 Grob properties are tied directly to the implementation of LilyPond, and
2906 they are thus a moving target. Documentation of such variables is in the
2907 automatically generated documentation. Description of properties are
2908 generated from the source code for each version. This documentation is
2909 therefore more up to date. It should be available from the same place
2910 where you got this manual.
2912 To decide how to tune a grob, you need to find the following information
2915 which grob to modify
2917 which property to modify
2919 which context the grob comes from.
2922 Included with the automatically generated documentation is a master list
2923 of grobs. Selecting a grob will take you to an overview of the
2924 properties available for that grob.
2926 There is also a master list of contexts. Selecting one takes you to an
2927 overview of that context which lists which grob types are created there.
2930 @node Font selection
2931 @subsection Font selection
2933 Most graphics in LilyPond are composed of characters of fonts. You can
2934 alter the characteristics of the font by setting certain grob
2935 properties. The mechanism that is used for this resembles La@TeX{}'s New
2936 Font Selection Scheme. Within this scheme, a font is entirely
2937 characterized by its font name.
2939 For each grob that uses fonts (in other words, each grob that supports
2940 @code{font-interface}) a font-name must be selected before it can be
2941 printed. The font name is selected by looking at a number of grob
2946 A symbol indicating the general class of the typeface. Supported are
2947 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2948 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2949 signs) and @code{typewriter}
2952 A symbol indicating the shape of the font, a finer gradation than
2953 font-family. Choices are @code{italic}, @code{caps} and @code{upright}
2956 A symbol indicating the series of the font. @code{font-series} form a
2958 than @code{font-shape}. Choices are @code{medium} and @code{bold}.
2960 @item font-relative-size
2961 A number indicating the size relative the standard size. For example,
2962 with 20pt staff height, relative size -1 corresponds to 16pt staff
2963 height, and relative size +1 corresponds to 23 pt staff height.
2965 @item font-design-size
2966 A number indicating the design size of the font.
2968 This is a feature of the Computer Modern Font: each point size has a
2969 slightly different design. Smaller design sizes are relatively wider,
2970 which enhances readability. Scalable type faces such TrueType and Adobe
2971 Type1 usually come as ``one design fits all sizes''.
2974 The name of the font, without the design size, e.g. @code{cmr},
2975 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2980 The font is selected by taking the first font that satisfies all
2981 qualifiers specified. You can override any of these fields through
2982 @code{\override} and @code{\revert}. The special value @code{*} matches
2983 any value for that qualifier.
2986 \property Lyrics.LyricText \override #'font-series = #'bold
2987 \property Lyrics.LyricText \override #'font-shape = #'*
2990 @cindex @code{font-style}
2992 There are also pre-cooked font selection qualifiers. These are selected
2993 through the grob property @code{font-style}. For example, the style
2994 @code{finger} selects family @code{number} and relative size @code{-3}.
2995 Styles available include @code{volta}, @code{finger}, @code{tuplet},
2996 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
2999 The style sheets and tables for selecting fonts are located in
3000 @file{scm/font.scm}. Refer to this file for more information.
3004 Relative size is not linked to any real size.
3006 There is no mechanism to select magnification of particular fonts,
3007 meaning that you don't have access to continuously scaled fonts. You
3008 can scale the entire output, of course, see @ref{Output scaling}.
3010 There is no style sheet provided for other fonts besides the @TeX{}
3013 @cindex font selection
3014 @cindex font magnification
3015 @cindex @code{font-interface}
3019 @subsection Text markup
3023 LilyPond has an internal mechanism to typeset texts. You can
3024 form text markup expressions by composing scheme expressions
3025 in the following way.
3027 @lilypond[verbatim, singleline]
3032 c^#'(italic "italic")
3033 d_#'((bold italic) "ff")
3035 f_#'(lines "one" (bold "two"))
3036 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3040 Normally, the Scheme markup text is stored in the @code{text} property
3041 of a grob. Formally, it is defined as follows:
3044 text: string | (head? text+)
3045 head: markup | (markup+)
3046 markup-item: property | abbrev
3047 property: (@var{key} . @var{value})
3048 abbrev: @code{columns lines roman music bold italic named super sub
3050 @code{finger volta timesig mmrest mark script large Large dynamic}
3053 The markup is broken down and converted into a list of grob properties,
3054 which are prepended to the property list. The @var{key}-@var{value}
3055 pair is a grob property. A list of properties available is included in
3056 the generated documentation for @rint{Text_interface}.
3058 The following abbreviations are currently defined:
3061 horizontal mode: set all text on one line (default)
3063 vertical mode: set every text on a new line
3067 selects the Feta font (the standard font for music notation glyphs),
3068 and uses named lookup
3075 lookup by character name
3077 plain text lookup (by character value)
3083 the next text or character overstrikes this one
3085 select fingering number fontstyle
3087 select volta number fontstyle
3089 select time signature number fontstyle
3091 select multi measure rest number fontstyle
3093 select mark number fontstyle
3095 select scriptsize roman fontstyle
3097 select large roman fontstyle
3099 select Large roman fontstyle
3101 select dynamics fontstyle
3105 @cindex metronome mark
3107 One practical application of complicated markup is to fake a metronome
3111 #(define note '(columns
3112 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3113 #(define eight-note `(columns ,note ((kern . -0.1)
3114 (music ((raise . 3.5) "flags-u3")))))
3115 #(define dotted-eight-note
3116 `(columns ,eight-note (music "dots-dot")))
3119 \notes\relative c'' {
3120 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3126 TextScript \override #'font-shape = #'upright
3132 @node Invisible grobs
3133 @subsection Invisible grobs
3134 @cindex invisible grobs
3138 ben nog steeds niet kapot van de informatiedichtheid hier.
3144 You can imagine a number of situations where you would want to make
3145 certain grobs not show up in the output. There may be aesthetic
3146 reasons, to make the output resemble an (old) manuscript as close as
3147 possible, or to make lessons or exercises for students.
3149 Grobs can be made invisible in a number of ways:
3151 Here's an example with blanked-out notes and stems:
3152 @lilypond[singleline,verbatim]
3154 \property Voice.NoteHead \override
3156 \property Voice.Stem \override
3157 #'transparent = ##t }
3160 \property Voice.NoteHead \revert #'transparent
3161 \property Voice.Stem \revert #'transparent }
3164 \notes\relative c'' {
3166 a b c b \blanknotes c \unblanknotes d
3171 A very rigorous way of removing grobs from the output is to remove the
3172 engraver that creates them. For example,
3175 \score {\notes { c'4 d'8 e'8 g2 }
3176 \paper { \translator {
3178 \remove Stem_engraver
3185 @subsection Dirty tricks
3186 @cindex embedded tex
3188 It is possible to use @TeX{} commands in the strings, but this should be
3189 avoided because this makes it impossible for LilyPond to compute the
3190 exact length of the string, which may lead to collisions. Also, @TeX{}
3191 commands won't work with direct PostScript output (see @ref{PostScript
3194 @lilypond[fragment,relative,verbatim]
3195 a''^"3 $\\times$ \\`a deux"
3198 You can also use raw PostScript commands embedded in text scripts. This
3199 offers ultimate flexibility, but requires you to learn PostScript.
3200 Currently, embedded PostScript will @strong{not} work with direct
3201 PostScript output. Note that all dimensions that you use are in staff
3206 \notes \relative c'' {
3207 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3208 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3209 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3213 \paper { linewidth = 70*\staffspace }
3220 @section Page layout
3223 The page layout is the combined product of LilyPond formatting notation,
3224 and (La)@TeX{} putting the notation on a page, including page breaks.
3225 The part of LilyPond is documented here.
3239 @subsection Paper block
3242 The most important output definition is the @code{\paper} block, for
3243 music notation. The syntax is
3246 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3249 where each of the items is one of
3252 @item An assignment.
3254 @item A context definition. See @ref{Interpretation context} for
3255 more information on context definitions.
3257 @item \stylesheet declaration. Its syntax is
3259 \stylesheet @var{alist}
3262 See @file{scm/font.scm} for details of @var{alist}.
3263 @item an @code{\elementdescriptions} declaration.
3265 \elementdescriptions @var{alist}
3267 See @file{scm/grob-description.scm} for details of
3268 @var{alist}. This command is not user-serviceable.
3272 @c . {Paper variables}
3273 @node Paper variables
3274 @subsection Paper variables
3275 @cindex Paper variables
3277 The paper block has some variables you may want to use or change:
3280 @cindex @code{indent}
3282 The indentation of the first line of music.
3283 @cindex @code{staffspace}
3285 @item @code{staffspace}
3286 The distance between two staff lines, calculated from the center
3289 @cindex @code{linewidth}
3290 @item @code{linewidth}
3291 Sets the width of the lines.
3293 If set to a negative value, a single unjustified line is produced.
3294 @c rename to singleLinePaper ?
3295 The shorthand @code{\singleLine} defines a default paper block that
3296 produces a single line.
3298 @cindex @code{textheight}
3300 @item @code{textheight}
3301 Sets the total height of the music on each page. Only used by
3304 @cindex @code{interscoreline}
3306 @item @code{interscoreline}
3307 Sets the spacing between systems.
3309 @cindex @code{interscorelinefill}
3311 @item @code{interscorelinefill}
3312 If set to a positive number, the distance between the score
3313 lines will stretch in order to fill the full page. In that
3314 case @code{interscoreline} specifies the minimum spacing.
3319 @cindex @code{stafflinethickness}
3321 @item @code{stafflinethickness}
3322 Determines the thickness of staff lines, and also acts as a scaling
3323 parameter for other line thicknesses.
3326 You may enter these dimension using units (@code{cm}, @code{in},
3327 @code{mm}, @code{pt}), or relative to another dimension
3329 linewidth = 20.0 * \staffspace
3336 @subsection Font size
3339 The Feta font provides musical symbols at six different sizes. These
3340 fonts are 11 point, 13 point, 16 point, 20 point,
3341 23 point, and 26 point. The point size of a font is the
3342 height of the five lines in a staff when displayed in the font.
3344 Definitions for these sizes are the files @file{paperSZ.ly}, where
3345 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3346 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3347 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3348 @code{paperTwentysix} are defined respectively. The default
3349 @code{\paper} block is also set.
3351 The font definitions are generated using a Scheme function. For more
3352 details, see the file @file{scm/font.scm}.
3358 @subsection Paper size
3363 @cindex @code{papersize}
3365 To change the paper size, you must first set the
3366 @code{papersize} variable at top level. Set it to
3367 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3368 specification, you must set the font as described above. If you want
3369 the default font, then use the 20 point font.
3373 \include "paper16.ly"
3376 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3377 will set the paper variables @code{hsize} and @code{vsize} (used by
3382 @subsection Line break
3385 @cindex breaking lines
3387 Line breaks are normally computed automatically. They are chosen such
3388 that the resulting spacing has low variation, and looks neither cramped
3391 Occasionally you might want to override the automatic breaks; you can do
3392 this by specifying @code{\break}. This will force a line break at this
3393 point. Do remember that line breaks can only occur at places where there
3394 are bar lines. If you want to have a line break where there is no
3395 bar line, you can force an invisible bar line by entering @code{\bar
3396 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3398 @cindex @code{\penalty}
3400 The @code{\break} and @code{\noBreak} commands are defined in terms of
3401 the penalty command:
3406 This encourages or discourages LilyPond to make a line break at this
3411 The scaling of the @code{\penalty} argument is not well-defined. The
3412 command is rather kludgey, and slated for rewriting.
3416 @subsection Page break
3419 @cindex breaking pages
3422 Page breaks are normally computed by @TeX{}, so they are not under
3423 direct control of LilyPond. However, you can insert a commands into the
3424 @file{.tex} output to instruct @TeX{} where to break pages. For more
3425 details, see the example file @file{input/test/between-systems.ly}
3429 @c . {Output scaling}
3430 @node Output scaling
3431 @subsection Output scaling
3445 There is no mechanism to select magnification of particular fonts,
3446 meaning that you don't have access to continuously scaled fonts.
3450 @c . {Output formats}
3451 @node Output formats
3452 @section Output formats
3454 LilyPond can output processed music in different output formats.
3458 * PostScript output::
3460 * ASCIIScript output::
3464 @subsection TeX output
3467 LilyPond will use @TeX{} by default. Even if you want to produce
3468 PostScript output for viewing or printing, you should normally have
3469 LilyPond produce @TeX{} first. The .tex output must be processed by
3470 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3471 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3472 used to generate the .dvi for you.
3476 Titling is not generated.
3479 @node PostScript output
3480 @subsection PostScript output
3481 @cindex PostScript output
3482 @cindex direct PostScript output
3484 LilyPond can produce PostScript directly, without going through @TeX{}.
3485 Currently, this is mainly useful if you cannot use TeX, because direct
3486 PostScript output has some problems; see Bugs below.
3489 $ lilypond -fps foo.ly
3490 GNU LilyPond 1.3.144
3491 Now processing: `foo.ly'
3493 Interpreting music...[3]
3494 Preprocessing elements...
3495 Calculating column positions...
3496 paper output to foo.ps...
3498 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3504 Text font selection is broken.
3506 The .ps file does not contain the .pfa font files. To print a .ps
3507 created through direct postscript output, you should prepend the
3508 necessary .pfa files to LilyPond's .ps output, or upload them to the
3509 printer before printing.
3511 The line height calculation is broken, you must set @var{lineheight} in
3512 the paperblock if you have more than one staff in your score, e.g.
3517 % Set line height to 40 staff spaces
3523 @subsection Scheme output
3524 @cindex Scheme output
3526 In the typesetting stage, LilyPond builds a page description, which is
3527 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3528 written, the page description is represented as Scheme expressions. You
3529 can also dump these Scheme expressions to a file, which may be
3530 convenient for debugging output routines. This done with the Scheme
3534 $ lilypond -fscm foo.ly
3535 GNU LilyPond 1.3.144
3536 Now processing: `foo.ly'
3538 Interpreting music...[3]
3539 Preprocessing elements...
3540 Calculating column positions...
3541 paper output to foo.scm...
3544 ;;; Usage: guile -s x.scm > x.tex
3545 (primitive-load-path 'standalone.scm)
3549 $ guile -s foo.scm > foo.tex
3553 @node ASCIIScript output
3554 @subsection ASCIIScript output
3555 @cindex ASCIIScript output
3556 @cindex ascii script
3559 LilyPond can output ASCII Art. This is a two step process, LilyPond
3560 produces an ASCII description file, dubbed ASCIIScript (extension
3561 @file{.as}). ASCIIScript has a small and simple command set that
3562 includes font selection, character and string printing and line drawing
3563 commands. The program @file{as2text} is used to translate an .as file
3566 To produce ASCII Art, you must include an ASCII Art paper definition
3567 file in your .ly, one of:
3569 \include "paper-as5.ly"
3570 \include "paper-as9.ly"
3573 Here's an example use for ASCII Art output (the example file
3574 @file{as-email.ly} is included in the LilyPond distribution), the staff
3575 symbol has been made invisible:
3578 $ lilypond -fas as-email.ly
3579 GNU LilyPond 1.3.144
3580 Now processing: `as-email.ly'
3582 Interpreting music...[3]
3583 Preprocessing elements...
3584 Calculating column positions... [2]
3585 paper output to as-email.as...
3587 $ as2text as-email.as 2>/dev/null
3589 |/ |##|##| | | | | |
3590 /| | | | | |\ |\ |\ |\ |\ |
3591 / |_ 3 | | | | 5 | )| )| )| )| )|
3592 | /| \ 8 * * * | 8 * * * * * |
3602 The ASCII Art fonts are far from complete and not very well designed.
3603 It's easy to change the glyphs, though; if you think you can do better,
3604 have a look at @file{mf/*.af}.
3606 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3608 The poor looks of most ASCII Art output and its limited general
3609 usefulness make that ASCII Art output has a low priority; it may be
3610 dropped in future versions.
3617 LilyPond can produce MIDI output. The performance lacks lots of
3618 interesting effects, such as swing, articulation, slurring, etc., but it
3619 is good enough for proof-hearing the music you have entered. Ties,
3620 dynamics and tempo changes are interpreted.
3622 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3623 levels. Dynamic marks translate to a fixed fraction of the available
3624 MIDI volume range, crescendi and decrescendi make the the volume vary
3625 linearly between their two extremities. The fractions be adjusted by
3626 overriding the @code{absolute-volume-alist} defined in
3627 @file{scm/midi.scm}.
3629 For each type of musical instrument (that MIDI supports), a volume range
3630 can be defined. This gives you basic equalizer control, which can
3631 enhance the quality of the MIDI output remarkably. You can add
3632 instruments and ranges or change the default settings by overriding the
3633 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3635 Both loudness controls are combined to produce the final MIDI volume.
3640 It is currently not possible to use the percussion channel (generally
3641 channel 10 of a MIDI file).
3645 * MIDI instrument names::
3650 @subsection MIDI block
3654 The MIDI block is analogous to the paper block, but it is somewhat
3655 simpler. The @code{\midi} block can contain:
3659 @item a @code{\tempo} definition
3660 @item context definitions
3663 Assignments in the @code{\midi} block are not allowed.
3667 @cindex context definition
3669 Context definitions follow precisely the same syntax as within the
3670 \paper block. Translation modules for sound are called performers.
3671 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3674 @node MIDI instrument names
3675 @subsection MIDI instrument names
3677 @cindex instrument names
3678 @cindex @code{Staff.midiInstrument}
3679 @cindex @code{Staff.instrument}
3681 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3682 property or, if that property is not set, the @code{Staff.instrument}
3683 property. The instrument name should be chosen from the list in
3684 @ref{MIDI instruments}.
3688 If the selected string does not exactly match, then LilyPond uses the
3689 default (Grand Piano). It is not possible to select an instrument by
3702 @section Music entry
3710 One of the applications of LilyPond is to enter music from existing
3711 written or printed material. When you're doing this kind of copying
3712 work, you can easily make mistakes. This section deals with tricks and
3713 features that help you enter music, and find and correct mistakes.
3717 @subsection Relative
3719 @cindex relative octave specification
3721 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3722 When you copy existing music, it is easy to accidentally put a pitch in
3723 the wrong octave and hard to find such an error. To prevent these
3724 errors, LilyPond features octave entry.
3726 @cindex @code{\relative}
3728 \relative @var{startpitch} @var{musicexpr}
3731 The octave of notes that appear in @var{musicexpr} are calculated as
3732 follows: If no octave changing marks are used, the basic interval
3733 between this and the last note is always taken to be a fourth or less
3734 (This distance is determined without regarding alterations; a
3735 @code{fisis} following a @code{ceses} will be put above the
3738 The octave changing marks @code{'} and @code{,} can be added to raise or
3739 lower the pitch by an extra octave. Upon entering relative mode, an
3740 absolute starting pitch must be specified that will act as the
3741 predecessor of the first note of @var{musicexpr}.
3743 Entering music that changes octave frequently is easy in relative mode.
3744 @lilypond[fragment,singleline,verbatim,center]
3750 And octave changing marks are used for intervals greater than a fourth.
3751 @lilypond[fragment,verbatim,center]
3753 c g c f, c' a, e'' }
3756 If the preceding item is a chord, the first note of the chord is used
3757 to determine the first note of the next chord. But other notes
3758 within the second chord are determined by looking at the immediately
3761 @lilypond[fragment,verbatim,center]
3768 @cindex @code{\notes}
3770 The pitch after the @code{\relative} contains a note name. To parse
3771 the pitch as a note name, you have to be in note mode, so there must
3772 be a surrounding @code{\notes} keyword (which is not
3775 The relative conversion will not affect @code{\transpose},
3776 @code{\chords} or @code{\relative} sections in its argument. If you
3777 want to use relative within transposed music, you must place an
3778 additional @code{\relative} inside the @code{\transpose}.
3783 @subsection Bar check
3787 @cindex @code{barCheckNoSynchronize}
3791 Whenever a bar check is encountered during interpretation, a warning
3792 message is issued if it doesn't fall at a measure boundary. This can
3793 help you find errors in the input. Depending on the value of
3794 @code{barCheckNoSynchronize}, the beginning of the measure will be
3795 relocated, so this can also be used to shorten measures.
3797 A bar check is entered using the bar symbol, @code{|}:
3799 \time 3/4 c2 e4 | g2.
3802 @c . {Point and click}
3803 @node Point and click
3804 @subsection Point and click
3806 Point and click lets you find notes in the input by clicking on them in
3807 the Xdvi window. This makes it very easy to find input that causes some
3808 error in the sheet music.
3810 To use it, you need the following software
3812 @unnumberedsubsec Installation
3816 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3817 Xdvi} version 22.36 or newer.
3819 Note that most @TeX{} distributions ship with xdvik, which is a
3820 different and less well maintained program. To find out which xdvi you
3821 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3825 Xdvi must be configured to find the TeX fonts and music
3826 fonts. Refer to the Xdvi documentation for more information.
3829 @unnumberedsubsec Using it
3831 Add one of these lines to the top of your .ly file. The first one is for
3832 line location only. The second one is more convenient, but requires
3833 patching @code{emacsclient} and @code{server.el}.
3836 #(set! point-and-click line-location)
3839 In the emacs startup file (usually @file{~/.emacs}), add the following
3844 Make sure that the environment variable @code{XEDITOR} is set
3847 emacsclient --no-wait +%l %f
3849 The second one, that also specifies the column, only works if you have
3850 patched your emacsclient and server, and have compiled your @code{.ly}
3851 file using the @code{line-column-location} setting.
3853 When viewing, control-mousebutton 1 will take you to the originating
3854 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3858 @unnumberedsubsec Column location
3860 If you want emacs to jump to the exact spot (and not just the line) on a
3861 click, you must enable column positioning. To do so, you need to patch
3862 emacsclient. Apply @file{emacsclient.patch} (included with the source
3863 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3864 source code. Recompile and stick the recompiled emacsclient into a bin
3865 directory, and put @file{server.el} into a elisp directory
3866 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3867 init file, before invoking server-start.
3870 (setq load-path (cons "~/usr/share/emacs" load-path))
3873 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3875 At the top of the @code{ly} file, replace the @code{set!} line with the
3878 #(set! point-and-click line-column-location)
3885 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3886 will complain about not finding @code{src:X:Y} files. Those complaints
3887 are harmless, and can be ignored.
3889 When using @code{line-colum-location}, the cursor will be one off; it
3890 will not jump to the exact note that you clicked, but to the next one.
3894 @node Skipping corrected music
3895 @section Skipping corrected music
3897 The property @code{Score.skipTypesetting} can be used to switch on and
3898 off typesetting completely during the interpretation phase. When
3899 typesetting is switched off, the music is processed much more quickly.
3900 You can use this to skip over the parts of a score that you have already
3903 @lilypond[fragment,singleline,verbatim]
3904 \relative c'' { c8 d
3905 \property Score.skipTypesetting = ##t
3907 \property Score.skipTypesetting = ##f
3912 @node Interpretation context
3913 @section Interpretation context
3916 * Creating contexts::
3917 * Default contexts::
3918 * Context properties::
3919 * Engravers and performers::
3920 * Changing context definitions::
3921 * Defining new contexts::
3925 Interpretation contexts are objects that only exist during a run of
3926 LilyPond. During the interpretation phase of LilyPond (when it prints
3927 "interpreting music"), the music expression in a @code{\score} block is
3928 interpreted in time order. This is the same order that humans hear and
3931 During this interpretation, the interpretation context is holds the
3932 state for the current point within the music. It contains information
3936 @item What notes are playing at this point?
3937 @item What symbols will be printed at this point?
3938 @item What is the current key signature, time signature, point within
3942 Contexts are grouped hierarchically: A @code{Voice} context is
3943 contained in a @code{Staff} context (because a staff can contain
3944 multiple voices at any point), a @code{Staff} context is contained in
3945 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
3947 Contexts associated with sheet music output are called @emph{notation
3948 contexts}, those for sound output are called @emph{performance
3952 @node Creating contexts
3953 @subsection Creating contexts
3955 @cindex @code{\context}
3956 @cindex context selection
3958 Contexts for a music expression can be selected manually, using the
3959 following music expression.
3962 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3965 This instructs lilypond to interpret @var{musicexpr} within the context
3966 of type @var{contexttype} and with name @var{contextname}. If this
3967 context does not exist, it will be created.
3969 @lilypond[verbatim,singleline]
3971 \notes \relative c'' {
3972 c4 <d4 \context Staff = "another" e4> f
3978 In this example, the @code{c} and @code{d} are printed on the
3979 default staff. For the @code{e}, a context Staff called
3980 @code{another} is specified; since that does not exist, a new
3981 context is created. Within @code{another}, a (default) Voice context
3982 is created for the @code{e4}. When all music referring to a
3983 context is finished, the context is ended as well. So after the
3984 third quarter, @code{another} is removed.
3988 @node Default contexts
3989 @subsection Default contexts
3991 Most music expressions don't need @code{\context}: they inherit the
3992 notation context from their parent. Each note is a music expression, and
3993 as you can see in the following example, only the sequential music
3994 enclosing the three notes has an explicit context.
3996 @lilypond[verbatim,singleline]
3997 \score { \notes \context Voice = goUp { c'4 d' e' } }
4000 There are some quirks that you must keep in mind when dealing with
4003 First, every top-level music is interpreted by the Score context, in other
4004 words, you may think of @code{\score} working like
4007 \context Score @var{music}
4011 Second, sequential music follows the contexts of its
4012 ``children''. Consider the following example.
4014 @lilypond[verbatim, singleline]
4015 \score { \context Score \notes { c'4 ( d' )e' } }
4018 The sequential music is interpreted by the Score context initially
4019 (notice that the @code{\context} specification is redundant), but when a
4020 note is encountered, contexts are setup to accept that note. In this
4021 case, a Thread, Voice and Staff are created. The rest of the sequential
4022 music is also interpreted with the same Thread, Voice and Staff context,
4023 putting the notes on the same staff, in the same voice.
4025 This is a convenient mechanism, but do not expect opening chords to work
4026 without @code{\context}. For every note, a separate staff is
4029 @lilypond[verbatim, singleline]
4030 \score { \notes <c'4 es'> }
4033 Of course, if the chord is preceded by a normal note in sequential
4034 music, the chord will be interpreted by the Thread of the preceding
4036 @lilypond[verbatim,singleline]
4037 \score { \notes { c'4 <c'4 es'> } }
4042 @node Context properties
4043 @subsection Context properties
4045 Notation contexts have properties. These properties are from
4046 the @file{.ly} file using the following expression:
4047 @cindex @code{\property}
4049 \property @var{contextname}.@var{propname} = @var{value}
4052 Sets the @var{propname} property of the context @var{contextname} to the
4053 specified Scheme expression @var{value}. All @var{propname} and
4054 @var{contextname} are strings, which are typically unquoted.
4056 Properties that are set in one context are inherited by all of the
4057 contained contexts. This means that a property valid for the
4058 @code{Voice} context can be set in the @code{Score} context (for
4059 example) and thus take effect in all @code{Voice} contexts.
4061 Properties can be unset using the following expression:
4063 \property @var{contextname}.@var{propname} \unset
4066 @cindex properties, unsetting
4067 @cindex @code{\unset}
4069 This removes the definition of @var{propname} in @var{contextname}. If
4070 @var{propname} was not defined in @var{contextname} (but was inherited
4071 from a higher context), then this has no effect.
4076 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4077 the inverse of @code{\property \set}.
4079 @node Engravers and performers
4080 @subsection Engravers and performers
4084 Basic building blocks of translation are called engravers; they are
4085 special C++ classes.
4089 @c . {Context definitions}
4090 @node Changing context definitions
4091 @subsection Changing context definitions
4093 @cindex context definition
4094 @cindex translator definition
4096 The most common way to define a context is by extending an existing
4097 context. You can change an existing context from the paper block, by
4098 first initializing a translator with an existing context identifier:
4102 @var{context-identifier}
4105 Then you can add and remove engravers using the following syntax:
4107 \remove @var{engravername}
4108 \consists @var{engravername}
4112 Here @var{engravername} is a string, the name of an engraver in the
4116 @lilypond[verbatim,singleline]
4120 \translator { \StaffContext
4121 \remove Clef_engraver
4127 You can also set properties in a translator definition. The syntax is as
4130 @var{propname} = @var{value}
4131 @var{propname} \set @var{grob-propname} = @var{pvalue}
4132 @var{propname} \override @var{grob-propname} = @var{pvalue}
4133 @var{propname} \revert @var{grob-propname}
4135 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4136 and @code{pvalue} are Scheme expressions. These type of property
4137 assignments happen before interpretation starts, so a @code{\property}
4138 command will override any predefined settings.
4141 To simplify editing translators, all standard contexts have standard
4142 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4143 @code{VoiceContext}.
4145 @node Defining new contexts
4146 @subsection Defining new contexts
4148 If you want to build a context from scratch, you must also supply the
4149 following extra information:
4151 @item A name, specified by @code{\name @var{contextname}}.
4153 @item A cooperation module. This is specified by @code{\type
4160 \type "Engraver_group_engraver"
4163 \consists "Staff_symbol_engraver"
4164 \consists "Note_head_engraver"
4165 \consistsend "Axis_group_engraver"
4169 The argument of @code{\type} is the name for a special engraver that
4170 handles cooperation between simple engravers such as
4171 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4172 for this engraver are the following:
4174 @cindex @code{Engraver_group_engraver}
4175 @item @code{Engraver_group_engraver}
4176 The standard cooperation engraver.
4178 @cindex @code{Score_engraver}
4180 @item @code{Score_engraver}
4181 This is cooperation module that should be in the top level context,
4182 and only the top level context.
4184 @cindex @code{Grace_engraver_group}
4186 @item @code{Grace_engraver_group}
4187 This is a special cooperation module (resembling
4188 @code{Score_engraver}) that is used to create an embedded
4195 @item @code{\alias} @var{alternate-name}
4196 This specifies a different name. In the above example,
4197 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4199 @item @code{\consistsend} @var{engravername}
4200 Analogous to @code{\consists}, but makes sure that
4201 @var{engravername} is always added to the end of the list of
4204 Some engraver types need to be at the end of the list; this
4205 insures they stay there even if a user adds or removes engravers.
4206 End-users generally don't need this command.
4208 @item @code{\accepts} @var{contextname}
4209 Add @var{contextname} to the list of context this context can
4210 contain. The first listed context is the context to create by
4213 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4214 completeness, but is never used in practice.
4217 @item @code{\name} @var{contextname}
4218 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4219 the name is not specified, the translator won't do anything.
4222 In the @code{\paper} block, it is also possible to define translator
4223 identifiers. Like other block identifiers, the identifier can only
4224 be used as the very first item of a translator. In order to define
4225 such an identifier outside of @code{\score}, you must do
4230 foo = \translator @{ @dots{} @}
4237 \translator @{ \foo @dots{} @}
4245 @cindex paper types, engravers, and pre-defined translators
4252 @c . {Syntactic details}
4253 @node Syntactic details
4254 @section Syntactic details
4255 @cindex Syntactic details
4257 This section describes details that were too boring to be put elsewhere.
4262 * Music expressions::
4263 * Manipulating music expressions::
4271 @subsection Top level
4274 This section describes what you may enter at top level.
4278 @subsubsection Score
4281 @cindex score definition
4283 The output is generated combining a music expression with an output
4284 definition. A score block has the following syntax:
4287 \score @{ @var{musicexpr} @var{outputdefs} @}
4290 @var{outputdefs} are zero or more output definitions. If none is
4291 supplied, the default @code{\paper} block will be added.
4295 @c . {Default output}
4296 @subsubsection Default output
4298 Default values for the @code{\paper} and @code{\midi} block are set by
4299 entering such a block at top-level.
4302 @subsubsection Header
4304 @cindex @code{\header}
4307 A header describes bibliographic information of the file's contents. It
4308 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4309 use this information for generating titles. Key values that are used by
4310 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4311 metre, arranger, piece and tagline.
4313 @cindex @code{ly2dvi}
4317 \header @{ @var{key1} = @var{val1}
4318 @var{key2} = @var{val2} @dots{} @}
4321 It is customary to put the @code{\header} at the top of the file.
4323 @subsubsection Default output
4325 A @code{\midi} or @code{\paper} block at top-level sets the default
4326 paper block for all scores that lack an explicit paper block.
4330 @subsection Identifiers
4333 All of the information in a LilyPond input file, is represented as a
4334 Scheme value. In addition to normal Scheme data types (such as pair,
4335 number, boolean, etc.), LilyPond has a number of specialized data types,
4342 @item Translator_def
4346 @item Music_output_def
4347 @item Moment (rational number)
4350 LilyPond also includes some transient object types. Objects of these
4351 types are built during a LilyPond run, and do not `exist' per se within
4352 your input file. These objects are created as a result of your input
4353 file, so you can include commands in the input to manipulate them,
4354 during a lilypond run.
4357 @item Grob: short for Graphical object. See @ref{Grobs}.
4358 @item Molecule: device-independent page output object,
4359 including dimensions. Produced by some Grob functions
4361 @item Translator: object that produces audio objects or Grobs. This is
4362 not yet user accessible.
4363 @item Font_metric: object representing a font. (See @ref{Font metrics})
4368 @node Music expressions
4369 @subsection Music expressions
4371 @cindex music expressions
4373 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4374 syllables are music expressions, and you can combine music expressions
4375 to form new ones, for example by enclosing a list of expressions in
4376 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4377 compound expression is formed out of the quarter note @code{c} and a
4378 quarter note @code{d}:
4381 \sequential @{ c4 d4 @}
4384 @cindex Sequential music
4385 @cindex @code{\sequential}
4386 @cindex sequential music
4389 @cindex Simultaneous music
4390 @cindex @code{\simultaneous}
4392 The two basic compound music expressions are simultaneous and
4396 \sequential @code{@{} @var{musicexprlist} @code{@}}
4397 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4399 For both, there is a shorthand:
4401 @code{@{} @var{musicexprlist} @code{@}}
4405 @code{<} @var{musicexprlist} @code{>}
4407 for simultaneous music.
4408 In principle, the way in which you nest sequential and simultaneous to
4409 produce music is not relevant. In the following example, three chords
4410 are expressed in two different ways:
4412 @lilypond[fragment,verbatim,center]
4413 \notes \context Voice {
4414 <a c'> <b d' > <c' e'>
4415 < { a b c' } { c' d' e' } >
4420 Other compound music expressions include
4423 \transpose @var{pitch} @var{expr}
4424 \apply @var{func} @var{expr}
4425 \context @var{type} = @var{id} @var{expr}
4426 \times @var{fraction} @var{expr}
4430 @c . {Manipulating music expressions}
4431 @node Manipulating music expressions
4432 @subsection Manipulating music expressions
4434 The @code{\apply} mechanism gives you access to the internal
4435 representation of music. You can write Scheme-functions that operate
4436 directly on it. The syntax is
4438 \apply #@var{func} @var{music}
4440 This means that @var{func} is applied to @var{music}. The function
4441 @var{func} should return a music expression.
4443 This example replaces the text string of a script. It also shows a dump
4444 of the music it processes, which is useful if you want to know more
4445 about how music is stored.
4447 @lilypond[verbatim,singleline]
4448 #(define (testfunc x)
4449 (if (equal? (ly-get-mus-property x 'text) "foo")
4450 (ly-set-mus-property x 'text "bar"))
4452 (ly-set-mus-property x 'elements
4453 (map testfunc (ly-get-mus-property x 'elements)))
4458 \apply #testfunc { c'4_"foo" }
4462 For more information on what is possible, see the automatically
4463 generated documentation.
4466 Directly accessing internal representations is dangerous: the
4467 implementation is subject to changes, so you should avoid this feature
4470 A final example is a function that reverses a piece of music in time:
4472 @lilypond[verbatim,singleline]
4473 #(define (reverse-music music)
4474 (let* ((elements (ly-get-mus-property music 'elements))
4475 (reversed (reverse elements))
4476 (span-dir (ly-get-mus-property music 'span-direction)))
4477 (ly-set-mus-property music 'elements reversed)
4479 (ly-set-mus-property music 'span-direction (- span-dir)))
4480 (map reverse-music reversed)
4483 music = \notes { c'4 d'4( e'4 f'4 }
4485 \score { \context Voice {
4487 \apply #reverse-music \music
4492 More examples are given in the distributed example files in
4495 @c . {Span requests}
4501 @subsubsection Span requests
4502 @cindex Span requests
4504 Notational constructs that start and end on different notes can be
4505 entered using span requests. The syntax is as follows:
4509 \spanrequest @var{startstop} @var{type}
4513 @cindex @code{\start}
4514 @cindex @code{\stop}
4516 This defines a spanning request. The @var{startstop} parameter is either
4517 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4518 describes what should be started. Much of the syntactic sugar is a
4519 shorthand for @code{\spanrequest}, for example,
4521 @lilypond[fragment,verbatim,center]
4522 c'4-\spanrequest \start "slur"
4523 c'4-\spanrequest \stop "slur"
4526 Among the supported types are @code{crescendo}, @code{decrescendo},
4527 @code{beam}, @code{slur}. This is an internal command. Users are
4528 encouraged to use the shorthands which are defined in the initialization
4529 file @file{spanners.ly}.
4534 @subsection Assignments
4537 Identifiers allow objects to be assigned to names during the parse
4538 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4539 and to refer to an identifier, you precede its name with a backslash:
4540 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4541 the input-types listed above. Identifier assignments can appear at top
4542 level in the LilyPond file, but also in @code{\paper} blocks.
4544 An identifier can be created with any string for its name, but you will
4545 only be able to refer to identifiers whose names begin with a letter,
4546 being entirely alphabetical. It is impossible to refer to an identifier
4547 whose name is the same as the name of a keyword.
4549 The right hand side of an identifier assignment is parsed completely
4550 before the assignment is done, so it is allowed to redefine an
4551 identifier in terms of its old value, e.g.
4557 When an identifier is referenced, the information it points to is
4558 copied. For this reason, an identifier reference must always be the
4559 first item in a block.
4563 \paperIdent % wrong and invalid
4567 \paperIdent % correct
4572 @c . {Lexical modes}
4574 @subsection Lexical modes
4575 @cindex Lexical modes
4578 @cindex @code{\notes}
4579 @cindex @code{\chords}
4580 @cindex @code{\lyrics}
4582 To simplify entering notes, lyrics, and chords, LilyPond has three
4583 special input modes on top of the default mode: note, lyrics and chords
4584 mode. These input modes change the way that normal, unquoted words are
4585 interpreted: for example, the word @code{cis} may be interpreted as a
4586 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4589 A mode switch is entered as a compound music expressions
4591 @code{\notes} @var{musicexpr}
4592 @code{\chords} @var{musicexpr}
4593 @code{\lyrics} @var{musicexpr}.
4596 In each of these cases, these expressions do not add anything to the
4597 meaning of their arguments. They just instruct the parser in what mode
4598 to parse their arguments. The modes are treated in more detail in
4599 @ref{Lyrics} and @ref{Chords}.
4601 Different input modes may be nested.
4605 @subsection Ambiguities
4610 The grammar contains a number of ambiguities. We hope to resolve them at
4614 @item The assignment
4619 is interpreted as the string identifier assignment. However,
4620 it can also be interpreted as making a string identifier @code{\foo}
4621 containing @code{"bar"}, or a music identifier @code{\foo}
4622 containing the syllable `bar'.
4624 @item If you do a nested repeat like
4636 then it is ambiguous to which @code{\repeat} the
4637 @code{\alternative} belongs. This is the classic if-then-else
4638 dilemma. It may be solved by using braces.
4640 @item The parser is not sophisticated enough to distinguish at the
4642 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4649 @c . {Lexical details}
4650 @node Lexical details
4651 @section Lexical details
4653 Even more boring details, now on lexical side of the input parser.
4664 * Version information::
4669 @subsection Comments
4672 @cindex block comment
4673 @cindex line comment
4677 A one line comment is introduced by a @code{%} character.
4678 Block comments are started by @code{%@{} and ended by @code{%@}}.
4679 They cannot be nested.
4682 @subsection Direct Scheme
4686 @cindex Scheme, in-line code
4689 LilyPond contains a Scheme interpreter (the GUILE library) for
4690 internal use. In some places Scheme expressions also form valid syntax:
4691 wherever it is allowed,
4695 evaluates the specified Scheme code. Example:
4697 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4699 @code{\override} expects two Scheme expressions, so there are two Scheme
4700 expressions. The first one is a symbol (@code{foobar}), the second one
4701 an integer (namely, 3).
4703 In-line scheme may be used at top level. In this case the result is
4706 Scheme is a full-blown programming language, and a full discussion is
4707 outside the scope of this document. Interested readers are referred to
4708 the website @uref{http://www.schemers.org/} for more information on
4713 @subsection Keywords
4717 Keywords start with a backslash, followed by a number of lower case
4718 alphabetic characters. These are all the keywords.
4721 apply arpeggio autochange spanrequest commandspanrequest
4722 simultaneous sequential accepts alternative bar breathe
4723 char chordmodifiers chords clef cm consists consistsend
4724 context denies duration dynamicscript elementdescriptions
4725 font grace header in lyrics key mark pitch
4726 time times midi mm name pitchnames notes outputproperty
4727 override set revert partial paper penalty property pt
4728 relative remove repeat addlyrics partcombine score
4729 script stylesheet skip textscript tempo translator
4734 @subsection Integers
4742 Formed from an optional minus sign followed by digits. Arithmetic
4743 operations cannot be done with integers, and integers cannot be mixed
4748 @cindex real numbers
4754 Formed from an optional minus sign and a sequence of digits followed
4755 by a @emph{required} decimal point and an optional exponent such as
4756 @code{-1.2e3}. Reals can be built up using the usual operations:
4757 `@code{+}', `@code{-}', `@code{*}', and
4758 `@code{/}', with parentheses for grouping.
4766 A real constant can be followed by one of the dimension keywords:
4767 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4768 points, inches and centimeters, respectively. This converts the number
4769 a number that is the internal representation of that dimension.
4777 Begins and ends with the @code{"} character. To include a @code{"}
4778 character in a string write @code{\"}. Various other backslash
4779 sequences have special interpretations as in the C language. A string
4780 that contains no spaces can be written without the quotes. Strings can
4781 be concatenated with the @code{+} operator.
4785 @subsection Main input
4788 @cindex @code{\maininput}
4790 The @code{\maininput} command is used in init files to signal that the
4791 user file must be read. This command cannot be used in a user file.
4793 @node File inclusion
4794 @subsection File inclusion
4795 @cindex @code{\include}
4797 \include @var{filename}
4800 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4801 unquoted string will not work here!) or a string identifier. The full
4802 filename including the @file{.ly} extension must be given,
4805 @node Version information
4806 @subsection Version information
4807 @cindex @code{\version}
4809 \version @var{string}
4812 Specify the version of LilyPond that a file was written for. The
4813 argument is a version string in quotes, for example @code{"1.2.0"}.
4814 This is used to detect invalid input, and to aid
4815 @code{convert-ly} a tool that automatically upgrades input files. See
4816 See @ref{convert-ly} for more information on @code{convert-ly}.
4825 @c .{Local emacs vars}
4828 @c minor-mode: font-lock
4829 @c minor-mode: outline
4830 @c outline-layout: (-1 : 0)
4831 @c outline-use-mode-specific-leader: "@c \."
4832 @c outline-primary-bullet: "{"
4833 @c outline-stylish-prefixes: nil
4834 @c outline-override-protect: t