4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
11 @unnumberedsubsec Bugs
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
21 This document describes GNU LilyPond and its input format. The last
22 revision of this document was made for LilyPond 1.3.145.
45 * Skipping corrected music::
46 * Interpretation context::
56 The purpose of LilyPond is explained informally by the term `music
57 typesetter'. This is not a fully correct name: not only does the
58 program print musical symbols, it also makes esthetic decisions.
59 Symbols and their placements are @emph{generated} from a high-level
60 musical description. In other words, LilyPond would be best described
61 by `music compiler' or `music to notation compiler'.
63 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
64 Scheme library provides the glue that holds together the low-level
65 routines and separate modules which are written in C++.
67 When lilypond is run to typeset sheet music, the following happens:
69 @item GUILE Initialization: various scheme files are read
70 @item parsing: first standard @code{ly} initialization files are read, and
71 then the user @file{ly} file is read.
72 @item interpretation: the music in the file is processed ``in playing
73 order'', i.e. the order that you use to read sheet music, or the
74 order in which notes are played. The result of this step is a typesetting
78 The typesetting specification is solved: positions and formatting is
81 @item the visible results ("virtual ink") are written to the output file.
84 During these stages different types of data play the the main role:
85 during parsing, @strong{Music} objects are created. During the
86 interpretation, @strong{context}s are constructed, and with these contexts
87 a network of @strong{graphical objects} (``grobs'') is created. These
88 grobs contain unknown variables, and the network forms a set of
89 equations. After solving the equations and filling in these variables,
90 the printed output (in the form of @strong{molecules}) is written to an
93 These threemanship of tasks (parsing, translating, typesetting) and
94 data-structures (music, context, graphical objects) permeates the entire
95 design of the program. This manual is ordered in terms of user
96 tasks. For each concept, it will be explained to which of the three parts
105 The most basic forms of music are notes. We discuss how you enter them
106 here. Notes on their own don't form valid input, but for the sake of
107 brevity we omit obligotary lint such as @code{\score} blocks and
108 @code{\paper} declarations.
113 * Defining pitch names::
116 * Easy Notation note heads ::
128 @cindex Note specification
130 @cindex entering notes
132 The verbose syntax for pitch specification is
134 @cindex @code{\pitch}
136 \pitch @var{scmpitch}
139 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
141 In Note and Chord mode, pitches may be designated by names. The default
142 names are the Dutch note names. The notes are specified by the letters
143 @code{a} through @code{g} (where the octave is formed by notes ranging
144 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
145 middle C and the letters span the octave above that C.
147 @cindex note names, Dutch
149 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
150 name. A flat is formed by adding @code{-es}. Double sharps and double
151 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
152 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
153 both forms are accepted.
155 LilyPond has predefined sets of notenames for various other languages.
156 To use them, simply include the language specific init file. For
157 example: @code{\include "english.ly"}. The available language files and
158 the names they define are:
161 Note Names sharp flat
162 nederlands.ly c d e f g a bes b -is -es
163 english.ly c d e f g a bf b -s/-sharp -f/-flat
164 deutsch.ly c d e f g a b h -is -es
165 norsk.ly c d e f g a b h -iss/-is -ess/-es
166 svenska.ly c d e f g a b h -iss -ess
167 italiano.ly do re mi fa sol la sib si -d -b
168 catalan.ly do re mi fa sol la sib si -d/-s -b
176 The optional octave specification takes the form of a series of
177 single quote (`@code{'}') characters or a series of comma
178 (`@code{,}') characters. Each @code{'} raises the pitch by one
179 octave; each @code{,} lowers the pitch by an octave.
181 @lilypond[fragment,verbatim,center]
182 c' c'' es' g' as' gisis' ais'
185 @c . {Defining pitch names}
186 @node Defining pitch names
187 @subsection Defining pitch names
189 @cindex defining pitch names
190 @cindex pitch names, defining
192 Note names and chord modifiers can be customised for nationalities. The
193 syntax is as follows.
195 @cindex @code{\pitchnames}
196 @cindex @code{\chordmodifiers}
198 \pitchnames @var{scheme-alist}
199 \chordmodifiers @var{scheme-alist}
202 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
203 specific examples how to do this.
209 @subsection Durations
213 @cindex @code{\duration}
215 The syntax for a verbose duration specification is
217 \duration @var{scmduration}
219 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
220 @ref{Duration} for more information.
223 In Note, Chord, and Lyrics mode, durations may be designated by numbers
224 and dots: durations are entered as their reciprocal values. For notes
225 longer than a whole note you must use identifiers.
229 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
231 r1 r2 r4 r8 r16 r32 r64 r64
237 \notes \relative c'' {
239 a1 a2 a4 a8 a16 a32 a64 a64
241 r1 r2 r4 r8 r16 r32 r64 r64
246 \remove "Clef_engraver"
247 \remove "Staff_symbol_engraver"
248 \remove "Time_signature_engraver"
249 \consists "Pitch_squash_engraver"
255 To get a longa note head, you have to use a mensural note heads. This
256 is done accomplished by setting the @code{style} property of the
257 NoteHead grob to @code{mensural}.
259 @lilypond[fragment,singleline,verbatim]
260 \property Voice.NoteHead \set #'style = #'mensural
264 If the duration is omitted then it is set to the previous duration
265 entered. At the start of parsing a quarter note is assumed. The
266 duration can be followed by a dot (`@code{.}') to obtain dotted note
270 @lilypond[fragment,verbatim,center]
276 You can alter the length of duration by appending
277 `@code{*}@var{fraction}'. This will not affect the appearance of the
278 notes or rests produced.
284 A note specification has the form
287 @var{pitch}[!][?][@var{duration}]
290 The alteration refers to what note is heard, not to whether an
291 accidental is printed. This is done depending on the key and context.
292 A reminder accidental
293 @cindex reminder accidental
295 can be forced by adding an exclamation mark @code{!} after the pitch. A
296 cautionary accidental,
297 @cindex cautionary accidental
298 i.e., an accidental within parentheses can be obtained by adding the
299 question mark `@code{?}' after the pitch.
301 @lilypond[fragment,verbatim,center]
302 cis' d' e' cis' c'? d' e' c'!
306 @node Easy Notation note heads
307 @subsection Easy Notation note heads
309 @cindex easy notation
312 A entirely different type of note head is the "easyplay" note head: a
313 note head that includes a note name. It is used in some publications by
314 Hal-Leonard Inc. music publishers.
316 @lilypond[singleline,verbatim]
317 \include "paper23.ly"
319 \notes { c'2 e'4 f' | g'1 }
320 \paper { \translator { \EasyNotation } }
324 Note that @code{EasyNotation} overrides a @code{Score} context. You
325 probably will want to print it with magnification to make it better
326 readable, see @ref{Output scaling}.
332 If you view the result with Xdvi, then staff lines will show through the
333 letters. Printing the postscript file obtained either by using dvips or
334 the @code{-f ps} option of lilypond will produce the desired result.
344 A tie connects two adjacent note heads of the same pitch. When used
345 with chords, it connects all of the note heads whose pitches match.
346 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
347 together chords which have no common pitches then no ties will be
350 @lilypond[fragment,verbatim,center]
351 e' ~ e' <c' e' g'> ~ <c' e' g'>
354 If you dislike the amount of ties created for a chord, you set
355 @code{Voice.sparseTies} to true, resulting in a smaller number of
357 @lilypond[fragment,verbatim,center]
358 \property Voice.sparseTies = ##t
359 <c' e' g'> ~ <c' e' g'>
362 In its meaning a tie is just a way of extending a note duration, similar
363 to the augmentation dot: the following example are two ways of notating
364 exactly the same concept.
366 @lilypond[fragment, singleline]
371 Ties are printed through the @code{Tie} grob.
375 At present, the tie is implemented as a separate thing, temporally
376 located in between the notes. There is also no way to convert
377 between tied notes, dotted notes and plain notes.
379 Tieing only a subset of the note heads of a chord is not supported in a
380 simple way. It can be achieved by moving the tie-engraver into Thread
381 context and turning on an off ties per Thread.
389 @cindex @code{\times}
391 Tuplets are made out of a music expression by multiplying their duration
394 @cindex @code{\times}
396 \times @var{fraction} @var{musicexpr}
399 The duration of @var{musicexpr} will be multiplied by the fraction.
400 In print, the fraction's denominator will be printed over the notes,
401 optionally with a bracket. The most common tuplet is the triplet in
402 which 3 notes have the length of 2, so the notes are 2/3 of
403 their written length:
405 @lilypond[fragment,verbatim,center]
406 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 The property @code{tupletSpannerDuration} specifies how long brackets
410 should last. With this, you can make lots of tuplets while typing
411 @code{\times} only once. This saves typing work when you must make lots
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
451 Skips the amount of time specified by @var{duration}. If no other music
452 is played, a gap will be left for the skipped time with no notes
453 printed. The shorthand is only available in Note and Chord mode.
458 @section Staff notation
460 @cindex Staff notation
472 @subsection Key signature
477 Changing the key signature is done with the @code{\key} command.
479 @code{\key} @var{pitch} @var{type}
482 @cindex @code{\minor}
483 @cindex @code{\major}
484 @cindex @code{\minor}
485 @cindex @code{\ionian}
486 @cindex @code{\locrian}
487 @cindex @code{\aeolian}
488 @cindex @code{\mixolydian}
489 @cindex @code{\lydian}
490 @cindex @code{\phrygian}
491 @cindex @code{\dorian}
493 Here, @var{type} should be @code{\major} or @code{\minor} to get
494 @var{pitch}-major or @var{pitch}-minor, respectively. The second
495 argument is optional; the default is major keys. The @var{\context}
496 argument can also be given as an integer, which tells the number of
497 semitones that should be added to the pitch given in the subsequent
498 @code{\key} commands to get the corresponding major key, e.g.,
499 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
500 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
501 @code{\phrygian}, and @code{\dorian} are also defined.
503 This command sets context property @code{Staff.keySignature}.
505 The printed signature is a @code{KeySignature} grob.
507 @cindex @code{keySignature}
514 \clef @var{clefname} @code{;}
520 \property Staff.clefGlyph = @var{glyph associated with clefname}
521 \property Staff.clefPosition = @var{clef Y-position for clefname}
522 \property Staff.clefOctavation = @var{extra pitch of clefname}
525 Any change in these properties creates a clef (a @code{Clef} grob).
527 Supported clef-names include
530 @item treble, violin, G, G2: G clef on 2nd line
531 @item french: G clef on 1st line
532 @item soprano: C clef on 1st line
533 @item mezzosoprano: C clef on 2nd line
534 @item alto: C clef on 3rd line
535 @item tenor: C clef on 4th line
536 @item baritone: C clef on 5th line
537 @item varbaritone: F clef on 3rd line
538 @item bass, F: F clef on 4th line
539 @item subbass: F clef on 5th line
540 @item percussion: percussion clef
543 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
546 @item clefs-C: modern style C clef
547 @item clefs-F: modern style F clef
548 @item clefs-G: modern style G clef
549 @item clefs-vaticana_do: Editio Vaticana style do clef
550 @item clefs-vaticana_fa: Editio Vaticana style fa clef
551 @item clefs-medicaea_do: Editio Medicaea style do clef
552 @item clefs-medicaea_fa: Editio Medicaea style fa clef
553 @item clefs-mensural1_c: modern style mensural C clef
554 @item clefs-mensural2_c: historic style small mensural C clef
555 @item clefs-mensural3_c: historic style big mensural C clef
556 @item clefs-mensural1_f: historic style traditional mensural F clef
557 @item clefs-mensural2_f: historic style new mensural F clef
558 @item clefs-mensural_g: historic style mensural G clef
559 @item clefs-hufnagel_do: historic style hufnagel do clef
560 @item clefs-hufnagel_fa: historic style hufnagel fa clef
561 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
562 @item clefs-percussion: modern style percussion clef
565 @emph{Modern style} means ``as is typeset in current editions.''
566 @emph{Historic style} means ``as was typeset or written in contemporary
567 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
570 @cindex Vaticana, Editio
571 @cindex Medicaea, Editio
572 @cindex hufnagel clefs
575 @c . {Time signature}
577 @subsection Time signature
578 @cindex Time signature
582 The time signature is changed by the @code{\time} command. Syntax:
584 \time @var{numerator}@code{/}@var{denominator}
586 Internally, this is a shortcut for doing
588 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
591 The grob is @code{TimeSignature}. There are many options for the layout
592 of this grob. They are selected through the @code{style} grob
593 property. See @file{input/test/time.ly} for examples.
600 @cindex partial measure
601 @cindex measure, partial
602 @cindex shorten measures
603 @cindex @code{\partial}
605 Partial measures are entered using the @code{\partial} command:
607 \partial @var{duration} @code{;}
610 Internally, this is a shortcut for
613 \property Score.measurePosition = -@var{length of duration}
618 @node Unmetered music
619 @subsection Unmetered music
621 Bar lines and bar numbers are calculated automatically. For unmetered
622 music (e.g. cadenzas), this is not desirable. The property
623 @code{Score.timing} can be used to switch off this automatic timing
625 @lilypond[fragment,relative,singleline,verbatim]
627 \property Score.timing = ##f
629 \property Score.timing = ##t
633 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
634 achieve the same effect.
640 @subsection Bar lines
644 @cindex measure lines
651 This is a shortcut for doing
653 \property Score.whichBar = @var{bartype}
656 You are encouraged to use @code{\repeat} for repetitions. See
657 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
661 @cindex Bar_line_engraver
663 @cindex repeatCommands
664 @cindex defaultBarType
666 Bar lines are created by the @code{Bar_engraver}. That engraver examines
667 @code{whichBar} at every moment. Whenever it is set to a string, it will
668 create a bar with that type. @code{whichBar} is usually set
669 automatically: at the start of a measure it is set to
670 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
671 override default measure bars.
673 @code{whichBar} can also be set directly, using @code{\property} or
674 @code{\bar }. These settings take precedence over automatic @code{whichBar}
677 @code{Bar_engraver} creates @code{BarLine} grobs.
684 Polyphonic parts, i.e. parts with more than one voice on a staff can be
685 typeset with LilyPond. To use this, instantiate a separate Voice
686 context for each part, and assign a stem direction to each part.
687 @lilypond[fragment,verbatim]
689 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
690 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
693 When there are more than two voices on a staff, you must also indicate
694 which voice should moved horizontally in case of a collision. This can
695 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
696 @code{\shiftOnn}, etc. (which sets grob property @code{horizontal-shift}
697 in @code{NoteColumn}).
699 @lilypond[fragment, verbatim]
700 \context Staff \notes\relative c''<
707 \context Voice=three {
708 \shiftOnn \stemUp ais
710 \context Voice=four {
711 \shiftOnnn \stemUp fis
716 The most convenient way is to use the identifiers @code{\voiceOne}
717 through @code{\voiceFour}, which also set slur and tie directions in the
720 @lilypond[singleline, verbatim]
722 \context Staff < \context Voice = VA { \voiceOne cis2 b }
723 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
724 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
727 LilyPond also vertically shifts rests that are opposite of a stem.
729 @lilypond[singleline,verbatim]
731 \context Voice { \stemUp c''4 }
732 \context Voice =VB { r4 }
736 Note head collisions (horizontal shifting of note heads) are handled by
737 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
740 @cindex @code{NoteCollision}
741 @cindex @code{RestCollision}
746 Resolving collisions is a very intricate subject, and LilyPond only
747 handles a few situations. When it can not cope, you are advised to use
748 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
749 the Rest grob to override typesetting decisions.
754 Beams are used to group short notes into chunks that are aligned with
755 the metrum. LilyPond guesses where beams should be inserted, but if
756 you're not satisfied with the automatic beaming, you can either instruct
757 lilypond which patterns to beam automatically. In specific cases, you
758 can also specify explicitly what to beam and what not.
761 @c . {Automatic beams}
762 @subsection Automatic beams
764 @cindex @code{Voice.autoBeamSettings}
765 @cindex @code{(end * * * *)}
766 @cindex @code{(begin * * * *)}
768 A large number of Voice properties are used to decide how to generate
769 beams. Their default values appear in @file{scm/auto-beam.scm}.
771 By default, automatic beams can start on any note@footnote{In exotic
772 time signatures such as 1/8 and 1/16 this is not true} but can only end
773 in a few positions within the measure: they can end on a beat, or at
774 durations specified by the properties in
775 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
776 are defined in @file{scm/auto-beam.scm}.
778 The syntax for changing the value @code{autoBeamSettings} is set using
779 @code{\override} and unset using @code{\revert}:
781 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
782 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
784 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
785 whether the rule applies to begin or end-points. The quantity
786 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
787 designate all time signatures), @var{P}/@var{Q} refers to the length of
788 the beamed notes (@code{* *} designate notes of any length).
790 If you want automatic beams to end on every quarter note, you can
793 \property Voice.autoBeamSettings \override
794 #'(end * * * *) = #(make-moment 1 4)
796 The duration a quarter note is 1/4 of a whole note. It is entered as
797 @code{(make-moment 1 4)}.
799 The same syntax can be used to specify beam starting points. In this
800 example, you automatic beams can only end on a dotted quarter note.
802 \property Voice.autoBeamSettings \override
803 #'(begin * * * *) = #(make-moment 3 8)
805 In 4/4 time signature, this means that automatic beams could end only on
806 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
807 3/8 has passed within the measure).
809 You can also restrict rules to specific time signatures. A rule that
810 should only be applied in @var{N}/@var{M} time signature is formed by
811 replacing the first asterisks by @var{N} and @var{M}. For example, a
812 rule for 6/8 time exclusively looks like
814 \property Voice.autoBeamSettings \override
815 #'(begin 6 8 * *) = ...
818 If you want a rule to apply to certain types of beams, you can use the
819 second pair of asterisks. Beams are classified according to the shortest
820 note they contain. For a beam ending rule that only applies to beams
821 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
825 @c Automatic beams can not be put on the last note in a score.
827 If a score ends while an automatic beam has not been ended and is still
828 accepting notes, this last beam will not be typeset at all.
830 @cindex automatic beam generation
832 @cindex @code{Voice.noAutoBeaming}
834 Automatic beaming is on by default, but it can switched off by setting
835 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
836 a melody that goes with lyrics.
840 It is not possible to specify beaming parameters for beams with mixed
841 durations, that differ from the beaming parameters of all separate
842 durations, ie, you'll have to specify manual beams to get:
843 @lilypond[fragment,singleline,relative]
844 \property Voice.autoBeamSettings
845 \override #'(end * * * *) = #(make-moment 3 8)
846 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
849 It is not possible to specify beaming parameters that act differently in
850 different parts of a measure, eg, in irregular meters such as @code{5/8}
851 that breaks down to @code{2/8 +3/8} or @code{3/8 + 2/8}, automatic beams
852 won't act according to the broken down parts @code{2/8} and @code{3/8}.
855 @cindex Automatic beams
856 @subsection Manual beams
857 @cindex beams, manual
861 In some cases it may be necessary to override LilyPond's automatic
862 beaming algorithm. For example, the auto beamer will not beam over
863 rests or bar lines, so if you want that, specify the begin and end point
864 manually using @code{[} and @code{]}:
866 @lilypond[fragment,relative,verbatim]
868 r4 [r8 g'' a r8] r8 [g | a] r8
871 Whenever an manual beam is busy, the auto beam will not produce
874 @cindex @code{stemLeftBeamCount}
876 If you have specific wishes for the number of beams, you can fully
877 control the number of beams through the properties
878 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
880 @lilypond[fragment,relative,verbatim]
883 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
886 @cindex @code{stemRightBeamCount}
888 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
889 beams) can be tweaked through grob-properties @code{height} and
890 @code{staff-position}, which are both measured staff-spaces.
892 [TODO: check: halfspaces?]
894 Set @code{height} to zero, to get horizontal beams:
896 @lilypond[fragment,relative,verbatim]
897 \property Voice.Beam \set #'direction = #1
898 \property Voice.Beam \set #'height = #0
902 Here's how you'd specify a weird looking beam that instead of being
903 horizontal, falls two staff spaces:
905 @lilypond[fragment,relative,verbatim]
906 \property Voice.Beam \set #'staff-position = #2
907 \property Voice.Beam \set #'height = #-2
910 @cindex @code{default-neutral-direction}
912 @node Expressive marks
913 @section Expressive marks
928 A slur indicates that notes are to be played bound or @emph{legato}. In
929 lilypond, they are entered using parentheses:
930 @lilypond[fragment,verbatim,center]
931 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
935 Slurs avoid crossing stems, and are attached to note heads whenever
936 possible. In some instances involving beams slurs may be attached to a
937 stem end. If you want to override this layout you can do this through
938 @code{Voice.Slur}'s grob-property @code{attachment}:
940 @lilypond[fragment,relative,verbatim]
941 \property Voice.Slur \set #'direction = #1
942 \property Voice.Stem \set #'length = #5.5
944 \property Voice.Slur \set #'attachment = #'(stem . stem)
948 If a slur would strike through a stem or beam, the slur will be moved
949 away upward or downward. If this happens, attaching the slur to the
950 stems might look better:
952 @lilypond[fragment,relative,verbatim]
953 \property Voice.Stem \set #'direction = #1
954 \property Voice.Slur \set #'direction = #1
956 \property Voice.Slur \set #'attachment = #'(stem . stem)
961 Similarly, the curvature of a slur is adjusted to stay clear of note
962 heads and stems. When that would increase the curvature too much, the
963 slur is reverted to its default shape. The threshold for this decision
964 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
965 related to the enclosed area between the slur and the notes. Usually,
966 the default setting works well, but in some cases you may prefer a
967 curved slur when LilyPond decides for a vertically moved one. You can
968 express this by increasing the @code{beautiful} value:
970 @lilypond[verbatim,singleline,relative]
971 \property Voice.Beam \override #'direction = #-1
972 \property Voice.Slur \override #'direction = #1
973 c'16( a' f' a a f a, )c,
975 \property Voice.Slur \override #'beautiful = #5.0
981 The definition for @code{beautiful} is vague, the default setting is
982 experimental computer science.
984 @cindex Adusting slurs
987 @subsection Phrasing slur
989 @cindex phrasing slur
990 @cindex phrasing mark
992 A phrasing slur (or phrasing mark) connects chords and is used to
993 indicate a musical sentence. It is entered using @code{\(} and
996 @lilypond[fragment,verbatim,center,relative]
997 \time 6/4 c''\((d)e f(e)\)d
1000 Typographically, the phrasing slur behaves almost exactly like a normal
1001 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1004 @subsection Breath marks
1006 Breath marks are entered using @code{\breathe}:
1008 @lilypond[fragment,relative]
1012 Currently, only tick marks are supported, comma style breath marks are
1013 not. The grob for this object is called @code{Voice.BreathingSign}.
1018 Currently, only tick marks are supported, comma style breath marks are
1026 @cindex beats per minute
1027 @cindex metronome marking
1029 @cindex @code{\tempo}
1031 \tempo @var{duration} = @var{perminute} @code{;}
1034 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1035 output with 76 quarter notes per minute.
1039 The tempo setting is not printed, but is currently only used in the MIDI
1040 output. You can trick lily into producing a metronome mark,
1041 though. Details are in @ref{Text markup}.
1046 @subsection Text spanner
1047 @cindex Text spanner
1049 Some textual indications, e.g. rallentando, accelerando, often extend
1050 over a many measures. This is indicated by following the text with a
1051 dotted line. You can create such texts in LilyPond using
1052 text spanners. The syntax is as follows:
1054 \spanrequest \start "text"
1055 \spanrequest \stop "text"
1057 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1058 string to be printed, as well as the style is set through grob
1061 An application---or rather, a hack---is to fake octavation indications.
1062 @lilypond[fragment,relative,verbatim]
1063 \relative c' { a'''' b c a
1064 \property Voice.TextSpanner \set #'type = #'dotted-line
1065 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1066 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1067 \property Staff.centralCPosition = #-13
1068 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1086 @subsection Articulation
1087 @cindex Articulation
1089 @cindex articulations
1093 A variety of symbols can appear above and below notes to indicate
1094 different characteristics of the performance. These symbols can be
1095 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1096 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1097 forced to appear above or below the note by writing
1098 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1099 respectively. Here is a chart showing symbols above notes, with the
1100 name of the corresponding symbol appearing underneath.
1105 \property Score.LyricSyllable \override #'font-family =
1107 \property Score.LyricSyllable \override #'font-shape = #'upright
1108 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1109 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1110 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1111 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1112 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1113 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1114 c''-\thumb c''-\segno c''-\coda
1116 \context Lyrics \lyrics {
1117 accent__ marcato__ staccatissimo__ fermata
1118 stopped__ staccato__ tenuto__ upbow
1119 downbow__ lheel__ rheel__ ltoe
1120 rtoe__ turn__ open__ flageolet
1121 reverseturn__ trill__ prall__ mordent
1122 prallprall__ prallmordent__ uprall__ downprall
1123 thumb__ segno__ coda
1127 linewidth = 5.875\in
1133 To save typing work, some shorthands are available:
1134 @lilypond[singleline]
1136 \notes \context Voice {
1137 \property Voice.TextScript \set #'font-family = #'typewriter
1138 \property Voice.TextScript \set #'font-shape = #'upright
1144 c''4-^_"c-\\^{ }" s4
1151 Fingering instructions can also be entered in this shorthand.
1152 @lilypond[verbatim, singleline, fragment]
1153 c'4-1 c'4-2 c'4-3 c'4-4
1157 @cindex @code{\script}
1166 Defines a script printing request. The argument is a string which
1167 points into the script-alias table defined in @file{scm/script.scm}.
1168 Usually the @code{\script} keyword is not used directly. Various
1169 helpful identifier definitions appear in @file{script.ly}.
1171 For information on how to add scripts, consult @file{scm/script.scm}.
1173 Grobs for these objects are @code{Script} and @code{Fingering}.
1177 All of these note ornaments appear in the printed output but have no
1178 effect on the MIDI rendering of the music.
1180 Unfortunately, there is no support adding fingering instructions or
1181 ornaments to individual note heads. Some hacks exist, though. See
1182 @file{input/test/script-horizontal.ly}.
1187 @subsection Text scripts
1188 @cindex Text scripts
1190 In addition, it is possible to place arbitrary strings of text or markup
1191 text (see @ref{Text markup}) above or below notes by using a string:
1192 @code{c^"text"}. The text is typeset in italic by default.
1194 The amount of space taken by these indications by default does not
1195 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1196 take the widths into account. The identifier @code{\fattext} is defined
1197 in the standard includes.
1198 @lilypond[fragment,singleline,verbatim]
1199 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1202 Text scripts are created in form of @code{Voice.TextScript} grobs.
1204 For purposes of defining identifiers, a more verbose form also exists:
1207 \textscript @var{text}
1210 Defines a text to be printed over or under a note. @var{text} is a
1211 string or a markup text.
1215 foo = \textscript #'(finger "6")
1222 This is equivalent to @code{c4-6 c4-"foo"}.
1227 @subsection Grace notes
1236 @cindex @code{\grace}
1239 @cindex @code{graceAlignPosition}
1241 Grace notes are ornaments that are written out, but do not take up any
1242 logical time in a measure. LilyPond has limited support for grace notes.
1243 The syntax is as follows.
1245 \grace @var{musicexpr}
1248 When grace music is interpreted, a score-within-a-score is set up:
1249 @var{musicexpr} has its own time bookkeeping, and you could (for
1250 example) have a separate time signature within grace notes. While in
1251 this score-within-a-score, you can create notes, beams, slurs, etc.
1252 Unbeamed eighth notes and shorter by default have a slash through the
1253 stem. This behavior can be controlled with the
1254 @code{Stem}.@code{flag-style} property.
1256 @lilypond[fragment,verbatim]
1258 \grace c8 c4 \grace { [c16 c16] } c4
1259 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1264 At present, nesting @code{\grace} notes is not supported. The following
1265 may cause run-time errors:
1267 @code{\grace @{ \grace c32 c16 @} c4}
1269 Since the meaning of such a construct is unclear, we don't consider this
1270 a loss. Similarly, juxtaposing two @code{\grace} sections is
1271 syntactically valid, but makes no sense and may cause runtime errors.
1272 Ending a staff or score with grace notes may also generate a run-time
1273 error, since there will be no main note to attach the grace notes to.
1276 A grace note expression has duration 0; the next real note is assumed to
1277 be the main note. If you want the note to appear after the main note,
1278 set @code{Voice.graceAlignPosition} to @code{1}.
1282 The present implementation of grace notes is not robust and generally
1283 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1284 also be implemented.
1297 @subsection Glissando
1300 @cindex @code{\glissando}
1302 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1303 @code{\glissando} to a note:
1305 @lilypond[fragment,relative,verbatim]
1311 Printing of an additional text (such as @emph{gliss.}) must be done
1318 @subsection Dynamics
1331 @cindex @code{\ffff}
1341 Absolute dynamic marks are specified by using an identifier after a
1342 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1343 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1344 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1345 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1347 @lilypond[verbatim,singleline,fragment,relative]
1348 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1352 @cindex Crescendo and Decrescendo
1356 @cindex @code{\decr}
1357 @cindex @code{\rced}
1363 A crescendo mark is started with @code{\cr} and terminated with
1364 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1365 started with @code{\decr} and terminated with @code{\rced}. There are
1366 also shorthands for these marks. A crescendo can be started with
1367 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1368 can be terminated with @code{\!}. Note that @code{\!} must go before
1369 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1370 after the last note. Because these marks are bound to notes, if you
1371 want to get several marks during one note, you must use spacer notes.
1373 @lilypond[fragment,verbatim,center]
1374 c'' \< \! c'' d'' \decr e'' \rced
1375 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1378 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1379 is an example how to do it:
1381 @lilypond[fragment,relative,verbatim]
1383 \property Voice.crescendoText = "cresc."
1384 \property Voice.crescendoSpanner = #'dashed-line
1390 Dynamics are grobs of @code{Voice.DynamicText} and
1391 @code{Voice.Hairpin}. They are put together on
1392 @code{Voice.DynamicLineSpanner} to align them vertically.
1401 @cindex @code{\repeat}
1403 To specify repeats, use the @code{\repeat} keyword. Since repeats
1404 should work differently when played or printed, there are a few
1405 different variants of repeats.
1409 Repeated music is fully written (played) out. Useful for MIDI
1413 This is the normal notation: Repeats are not written out, but
1414 alternative endings (voltas) are printed, left to right.
1417 Alternative endings are written stacked. Which is unfortunately not
1418 practical for anything right now.
1424 Make measure repeats. These look like percent signs.
1430 * Manual repeat commands::
1432 * Tremolo subdivision::
1437 @subsection Repeat syntax
1439 The syntax for repeats is
1442 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1445 If you have alternative endings, you may add
1446 @cindex @code{\alternative}
1448 \alternative @code{@{} @var{alternative1}
1450 @var{alternative3} @dots{} @code{@}}
1452 where each @var{alternative} is a music expression.
1454 Normal notation repeats are used like this:
1455 @lilypond[fragment,verbatim]
1457 \repeat volta 2 { c'4 d' e' f' }
1458 \repeat volta 2 { f' e' d' c' }
1461 With alternative endings:
1462 @lilypond[fragment,verbatim]
1464 \repeat volta 2 {c'4 d' e' f'}
1465 \alternative { {d'2 d'} {f' f} }
1468 Folded repeats look like this:
1471 @lilypond[fragment,verbatim]
1473 \repeat fold 2 {c'4 d' e' f'}
1474 \alternative { {d'2 d'} {f' f} }
1478 If you don't give enough alternatives for all of the repeats, then
1479 the first alternative is assumed to be repeated often enough to equal
1480 the specified number of repeats.
1482 @lilypond[fragment,verbatim]
1486 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1487 \alternative { { g4 g g } { a | a a a a | b2. } }
1494 As you can see, LilyPond doesn't remember the timing information, nor
1495 are slurs or ties repeated, so you have to reset timing information
1496 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1497 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1500 It is possible to nest @code{\repeat}, although it probably is only
1501 meaningful for unfolded repeats.
1503 Folded repeats offer little more over simultaneous music. However, it
1504 is to be expected that more functionality -- especially for the MIDI
1505 backend -- will be implemented at some point in the future.
1507 @node Manual repeat commands
1508 @subsection Manual repeat commands
1510 @cindex @code{repeatCommands}
1512 The property @code{repeatCommands} can be used to control the layout of
1513 repeats. Its value is a Scheme list of repeat commands, where each repeat
1521 @item (volta . @var{text})
1522 Print a volta bracket saying @var{text}.
1524 Stop a running volta bracket
1527 @lilypond[verbatim, fragment]
1529 \property Score.repeatCommands = #'((volta "93") end-repeat)
1531 \property Score.repeatCommands = #'((volta #f))
1536 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1538 @node Tremolo repeats
1539 @subsection Tremolo repeats
1540 @cindex tremolo beams
1542 To place tremolo marks between notes, use @code{\repeat} with tremolo
1544 @lilypond[verbatim,center,singleline]
1546 \context Voice \notes\relative c' {
1547 \repeat "tremolo" 8 { c16 d16 }
1548 \repeat "tremolo" 4 { c16 d16 }
1549 \repeat "tremolo" 2 { c16 d16 }
1550 \repeat "tremolo" 4 c16
1555 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1556 @code{Voice.StemTremolo}.
1561 At present, the spacing between tremolo beams is not regular, since the
1562 spacing engine does not notice that not all notes are printed.
1564 @node Tremolo subdivision
1565 @subsection Tremolo subdivision
1566 @cindex tremolo marks
1567 @cindex @code{tremoloFlags}
1569 Tremolo marks can be printed on a single note by adding
1570 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1571 A @var{length} value of 8 gives one line across the note stem. If the
1572 length is omitted, then then the last value (stored in
1573 @code{Voice.tremoloFlags}) is used.
1575 @lilypond[verbatim,fragment,center]
1578 Using this mechanism pays off when you entering many tremolos, since the
1579 default argument saves a lot of typing.
1584 Tremolos in this style do not carry over into the MIDI output.
1587 @node Measure repeats
1588 @subsection Measure repeats
1590 @cindex percent repeats
1591 @cindex measure repeats
1593 In the @code{percent} style, a note pattern can be repeated. It is
1594 printed once, and then the pattern is replaced with a special sign.
1596 @lilypond[verbatim,singleline]
1597 \context Voice { \repeat "percent" 4 { c'4 }
1598 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1602 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1603 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1607 You can not nest percent repeats, e.g. filling in the first measure with
1608 slashes, and repeating that measure with percents.
1610 @node Rhythmic music
1611 @section Rhythmic music
1618 @node Rhythmic staffs
1619 @subsection Rhythmic staffs
1621 Some times you might want to show only the rhythm of a melody. This can
1622 be done with the rhythmic staff. All pitches of notes on such a staff
1623 are squashed, and the staff itself looks has a single staff line:
1625 @lilypond[fragment,relative ]
1626 \context RhythmicStaff {
1628 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1635 @section Piano music
1637 Piano music is an odd type of notation: two staffs are largely
1638 independent, but sometimes voices can cross between the two staffs. The
1639 @code{PianoStaff} is especially built to handle this cross-staffing
1640 behavior. In this section we discuss the @code{PianoStaff} and some
1641 other pianistic peculiarities.
1644 * Automatic staff changes::
1645 * Manual staff switches::
1652 @c . {Automatic staff changes}
1653 @node Automatic staff changes
1654 @subsection Automatic staff changes
1655 @cindex Automatic staff changes
1657 Voices can be switched from top to bottom staff automatically. The
1660 \autochange @var{contexttype} @var{musicexp}
1662 This will switch notation context of @var{musicexp} between a
1663 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1664 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1665 of pitch (central C is the turning point), and it looks ahead skipping
1666 over rests to switch rests in advance.
1668 @lilypond[verbatim,singleline]
1669 \score { \notes \context PianoStaff <
1670 \context Staff = "up" {
1671 \autochange Staff \context Voice = VA < \relative c' {
1672 g4 a b c d r4 a g } > }
1673 \context Staff = "down" {
1679 Note how spacer rests are used to prevent the bottom staff from
1680 terminating too soon.
1683 @node Manual staff switches
1684 @subsection Manual staff switches
1686 @cindex manual staff switches
1687 @cindex staff switch, manual
1689 Voices can be switched between staffs manually, using the following command:
1691 \translator Staff = @var{which} @var{music}
1693 The string @var{which} is the name of the staff. Typically it is
1694 @code{"up"} or @code{"down"}.
1696 Formally, this construct is a music expression indicating that the
1697 context which is a direct child of the a context of type
1698 @var{contexttype} should be shifted to a context of type
1699 @var{contexttype} and the specified name.
1701 @cindex @code{\translator}
1703 \translator @var{contexttype} = @var{name}
1712 Piano pedal instruction can be expressed using
1713 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1714 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1716 These identifiers are shorthands for spanner commands of the types
1717 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1719 @lilypond[fragment,verbatim]
1720 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1723 The symbols that are printed can be modified by setting
1724 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1725 types. Refer to the generated documentation for more information.
1730 Currently, brackets are not supported, only text markings (ie. *Ped
1736 @subsection Arpeggio
1739 @cindex broken arpeggio
1740 @cindex @code{\arpeggio}
1742 You can specify an arpeggio sign on a chord by attaching an
1743 @code{\arpeggio} to a note of the chord.
1746 @lilypond[fragment,relative,verbatim]
1747 \context Voice <c'\arpeggio e g c>
1750 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1751 to the chords in both staffs, and set
1752 @code{PianoStaff.connectArpeggios}.
1754 @lilypond[fragment,relative,verbatim]
1755 \context PianoStaff <
1756 \property PianoStaff.connectArpeggios = ##t
1757 \context Voice = one { <c''\arpeggio e g c> }
1758 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1762 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1763 are @code{PianoStaff.Arpeggio}.
1767 It is not possible to mix connected arpeggios and unconnected arpeggios
1771 @c . {VoiceFollower}
1773 @subsection VoiceFollower
1775 @cindex follow voice
1776 @cindex staff switching
1779 @cindex @code{followVoice}
1781 Whenever a voice switches to another staff a line connecting the notes
1782 can be printed automatically. This is enabled if the property
1783 @code{PianoStaff.followVoice} is set to true:
1785 @lilypond[fragment,relative,verbatim]
1786 \context PianoStaff <
1787 \property PianoStaff.followVoice = ##t
1788 \context Staff \context Voice {
1790 \translator Staff=two
1793 \context Staff=two {\clef bass \skip 1*2 }
1797 The associated grob is @code{Voice.VoiceFollower}.
1807 * Automatic syllable durations::
1813 @subsection Lyrics mode
1816 To print lyrics in LilyPond, you must first make a music expression from
1817 the lyric text. When they're in a music expression, that music
1818 expression can be printed by selecting an appropriate context. We shall
1819 discuss lyric printing in this order.
1823 @cindex @code{\lyrics}
1825 You can enter lyrics in a special input mode of LilyPond. This mode is
1826 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1827 The purpose of this mode is that you can enter lyrics as plain text,
1828 punctuation and accents without any hassle.
1830 The precise definition of this mode is in @ref{Lyrics mode
1831 definition}. The definition itself is ludicrous, and this will remain so
1832 until the authors of LilyPond acquire a deeper understanding of
1833 character encoding, or someone else steps up to fix this.
1835 Syllables are entered like notes, with pitches replaced by text. For
1836 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1837 the hyphen has no special meaning for lyrics, and does not introduce
1840 Spaces can be introduced into a lyric either by using quotes
1841 (@code{"}) or by using an underscore without quotes: @code{He_could4
1842 not4}. All unquoted underscores are converted to spaces.
1844 @c . {Printing lyrics}
1845 @node Printing lyrics
1846 @subsection Printing lyrics
1849 Normally, you will want to have notes and syllables matched
1850 automatically. This is accomplished using @code{\addlyrics}, which is
1851 documented in @ref{Automatic syllable durations}. Setting
1852 @code{automaticMelismata} in the melody staff, will cause slurs to be
1853 interpreted as melismata. Lyric syllables must be interpreted within a
1854 @code{Lyrics} context in order to printing them.
1856 @lilypond[verbatim,singleline]
1857 \addlyrics \notes \relative c' {
1859 \property Staff.automaticMelismata = ##t
1862 \context Lyrics \lyrics {
1864 share the so -- ftware; }
1867 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1870 @cindex lyric extender
1873 As you can see, extender lines are entered as @code{__}. This will
1874 create an extender, a line that extends over the entire duration of the
1875 lyric. This line will run all the way to the start of the next lyric,
1876 so you may want to shorten it by using a blank lyric (using @code{_}).
1877 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1882 If you want to have hyphens centered between syllables (rather than
1883 attached to the end of the first syllable) you can use the special
1884 `@code{-}@code{-}' lyric as a separate word between syllables. This
1885 will result in a hyphen which length varies depending on the space
1886 between syllables, and which will be centered between the syllables.
1887 The grob for this symbol is @code{LyricsVoice.LyricHyphen}.
1889 @cindex Lyric hyphen
1891 @node Automatic syllable durations
1892 @subsection Automatic syllable durations
1893 @cindex Automatic syllable durations
1895 @cindex automatic lyric durations
1896 @cindex @code{\addlyrics}
1898 If you have lyrics that are set to a melody, you can import the rhythm
1899 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1902 \addlyrics @var{musicexpr1 musicexpr2}
1905 This means that both @var{musicexpr1} and @var{musicexpr2} are
1906 interpreted, but that every non-command atomic music expression
1907 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1908 of @var{musicexpr1}.
1909 @cindex @code{automaticMelismata}
1911 If the property @code{automaticMelismata} is set in the
1912 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1915 @lilypond[verbatim,fragment]
1918 \property Voice.automaticMelismata = ##t
1919 c8 () cis d8. e16 f2
1921 \context Lyrics \lyrics {
1925 If you want the lyric lines to be above the melody staff, or in some
1926 other, more complex configuration, then build that configuration first
1927 using simultaneous music, and use @code{\addlyrics} after that.
1929 @lilypond[verbatim, singleline]
1931 \context Lyrics = LA { s1 }
1932 \context Staff = SA { s1 }
1934 \context Staff = SA \relative c' { c4 e g g }
1935 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1938 For @code{\addlyrics} you should use a single rhythm melody, and single
1939 rhythm lyrics (a constant duration is the obvious choice). If you do
1940 not, you can get undesired effects when using multiple stanzas:
1942 @lilypond[verbatim,fragment]
1945 c8 () cis d8. e16 f2
1947 \context Lyrics \lyrics
1952 It is valid (but probably not very useful) to use notes instead of
1953 lyrics for @var{musicexpr2}.
1956 @subsection More stanzas
1960 If you have multiple stanzas printed underneath each other, the separate
1961 syllables should be aligned around punctuation. LilyPond can do this if
1962 you explain it which lyric lines belong to which melody.
1964 To this end, give the Voice context an identity, and set the LyricsVoice
1965 to name starting with that identity. In the following example, the Voice
1966 identity is @code{duet}, and the identities of the LyricsVoices are
1967 @code{duet-1} and @code{duet-2}.
1970 @lilypond[singleline,verbatim]
1973 \notes \relative c'' \context Voice = duet { \time 3/4
1975 \lyrics \context Lyrics <
1976 \context LyricsVoice = "duet-1" {
1977 \property LyricsVoice . stanza = "Bert"
1978 Hi, my name is bert. }
1979 \context LyricsVoice = "duet-2" {
1980 \property LyricsVoice . stanza = "Ernie"
1981 Ooooo, ch\'e -- ri, je t'aime. }
1986 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1987 first system) and @code{LyricsVoice.stz} for the following systems.
1989 @cindex stanza numbering
1997 LilyPond has support for both entering and printing chords. Chords are
1998 a harmonic device that is characterized by a set of pitches. It is
1999 something different from simultaneous music, although you can express a
2000 chord using simultaneous music. In fact, chords are internally stored as
2001 simultaneous music expressions. This means you can enter chords by name,
2002 and print them as note head, or enter as notes and print as chord names:
2005 @lilypond[verbatim,singleline]
2006 twoWays = \notes \transpose c'' {
2016 < \context ChordNames \twoWays
2017 \context Staff \twoWays > }
2020 Note that this example also shows that the LilyPond chord does not
2021 attempt to be intelligent, if you enter @code{f bes d}, it does no
2022 attempt to find out whether it this is an inversion.
2026 * Printing named chords::
2031 @subsection Chords mode
2034 Chord mode is a mode where you can input sets of pitches using common
2035 names. It is introduced by the keyword @code{\chords}. It is similar
2036 to note mode, but words are also looked up in a chord modifier table
2037 (containing @code{maj}, @code{dim}, etc).
2039 Dashes and carets are used to indicate chord additions and subtractions,
2040 so articulation scripts can not be entered in Chord mode.
2042 The syntax for named chords is as follows:
2045 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2048 @var{tonic} should be the tonic note of the chord, and @var{duration}
2049 is the chord duration in the usual notation. There are two kinds of
2050 modifiers. One type is @emph{chord additions}, which are obtained by
2051 listing intervals separated by dots. An interval is written by its
2052 number with an optional @code{+} or @code{-} to indicate raising or
2053 lowering by half a step. Chord additions has two effects: It adds
2054 the specified interval and all lower odd numbered intervals to the
2055 chord, and it may lower or raise the specified interval. Intervals
2056 must be separated by a dot (@code{.}).
2058 Throughout these examples, chords have been shifted around the staff
2059 using @code{\transpose}.
2061 @lilypond[fragment,verbatim]
2065 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2075 The second type of modifier that may appear after the @code{:} is a
2076 named modifier. Named modifiers are listed in the file
2077 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2078 @code{min} which lower the 3rd half a step, `@code{aug}' which
2079 raises the 5th, `@code{dim}' which lowers the 5th,
2080 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2081 which replaces the 5th with a 4th.
2083 @lilypond[fragment,verbatim]
2086 c1:m c:min7 c:maj c:aug c:dim c:sus
2092 Chord subtractions are used to eliminate notes from a chord. The
2093 notes to be subtracted are listed after a @code{^} character,
2096 @lilypond[fragment,verbatim,center]
2105 Chord inversions can be specified by appending `@code{/}' and the name
2106 of a single note to a chord. In a chord inversion, the inverted note is
2107 transposed down until it is the lowest note in the chord. If the
2108 specified note is not in the chord, a warning will be printed.
2110 @lilypond[fragment,verbatim,center]
2120 Bass notes can be added by `@code{/+}' and
2121 the name of a single note to a chord. This has the effect of
2122 adding the specified note to the chord, lowered by an octave,
2123 so it becomes the lowest note in the chord.
2125 @lilypond[fragment,verbatim,center]
2137 @c . {Printing named chords}
2138 @node Printing named chords
2139 @subsection Printing named chords
2141 @cindex printing chord names
2144 @cindex @code{ChordNames}
2147 For displaying printed chord names, use the @code{ChordNames} context.
2148 The chords may be entered either using the notation described above, or
2149 directly using simultaneous music.
2151 @lilypond[verbatim,singleline]
2153 \chords {a1 b c} <d f g> <e g b>
2157 \context ChordNames \scheme
2158 \context Staff \transpose c'' \scheme
2163 You can make the chord changes stand out by setting property
2164 @code{ChordNames.chordChanges} to true. This will only display chord
2165 names when there's a change in the chords scheme and at the start of the
2170 c1:m \break c:m c:m c:m d
2175 \context ChordNames {
2176 \property ChordNames.chordChanges = ##t
2178 \context Staff \transpose c'' \scheme
2182 LilyPond examines chords specified as lists of notes to determine a name
2183 to give the chord. LilyPond will not try to identify chord inversions or
2184 an added bass note, which may result in strange chord names when chords
2185 are entered as a list of pitches:
2187 @lilypond[verbatim,center,singleline]
2196 \context ChordNames \scheme
2197 \context Staff \scheme
2203 By default LilyPond uses chord name system proposed by Harald Banter
2204 (See @ref{Literature}). The system is is unambiguous and has a logical
2205 structure. Typical American style chord names may be selected by
2206 setting the @code{style} property of the @code{ChordNames.ChordName}
2207 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2210 Routines that determine the names to be printed are written in Scheme,
2211 and may be customized by the user. The code can be found in
2212 @file{scm/chord-name.scm}. Here's an example showing the differences in
2216 @c maybe just junk verbatim option?
2217 @lilypond[verbatim,singleline]
2227 \context ChordNames = banter \scheme
2228 \context ChordNames = american {
2229 \property ChordNames.ChordName \override
2230 #'style = #'american \scheme }
2231 \context ChordNames = jazz {
2232 \property ChordNames.ChordName \override
2233 #'style = #'jazz \scheme }
2234 \context Staff \transpose c'' \scheme
2241 @section Writing parts
2243 Orchestral music involves some special notation, both in the full score,
2244 as in the individual parts. This section explains how to tackle common
2245 problems in orchestral music.
2252 * Instrument names::
2254 * Sound output for transposing instruments::
2255 * Multi measure rests::
2256 * Automatic part combining::
2257 * Hara-kiri staffs::
2260 @c . {Rehearsal marks}
2261 @node Rehearsal marks
2262 @subsection Rehearsal marks
2263 @cindex Rehearsal marks
2265 @cindex @code{\mark}
2266 @cindex @code{Mark_engraver}
2269 \mark @var{unsigned}
2274 With this command, you can print a rehearsal mark above the system. You
2275 can provide a number, a string or a markup text as argument. If there is
2276 no argument, the property @code{rehearsalMark} is used and automatically
2279 @lilypond[fragment,verbatim]
2285 c1 \mark #'(music "scripts-segno")
2291 @subsection Bar numbers
2293 Bar numbers are printed at the start of the line by default. This is
2294 done by the @code{Bar_number_engraver} in the Score context.
2298 It is currently not possible to make boxed bar numbers, or print them at
2302 @node Instrument names
2303 @subsection Instrument names
2305 You can specify an instrument name for a staff by setting
2306 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2307 before the start of the staff. For the first start, @code{instrument} is
2308 used, for the next ones @code{instr} is used.
2310 @lilypond[verbatim,singleline]
2312 \property Staff.instrument = "ploink " { c''4 } }
2314 \translator { \StaffContext
2315 \consists "Instrument_name_engraver" } } }
2318 This requires that you add the @code{Instrument_name_engraver} to the
2319 staff context. You can also use markup texts to construct more
2320 complicated instrument names:
2323 @lilypond[verbatim,singleline]
2325 '((font-relative-size . -2 ) (music "accidentals--1")))
2328 \property Staff.instrument = #`((kern . 0.5) (lines
2329 "2 Clarinetti" (rows " (B" ,text-flat ")")))
2332 \translator { \StaffContext
2333 \consists "Instrument_name_engraver" } } }
2339 When you put a name on a grand staff or piano staff (By adding an
2340 @code{Instrument_name_engraver} to that context and setting
2341 e.g. @code{\property GrandStaff.instrument}), the width of the brace is
2342 not taken into account. You must add extra spaces to the end of the name
2343 to avoid a collision.
2346 @subsection Transpose
2348 @cindex transposition of pitches
2349 @cindex @code{\transpose}
2351 A music expression can be transposed with @code{\transpose}. The syntax
2354 \transpose @var{pitch} @var{musicexpr}
2357 This means that middle C in @var{musicexpr} is transposed to
2360 @code{\transpose} distinguishes between enharmonic pitches: both
2361 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2362 a tone. The first version will print sharps and the second version
2365 @lilypond[fragment,verbatim]
2368 { \key e \major c d e f }
2370 \transpose des'' { \key e \major c d e f }
2371 \transpose cis'' { \key e \major c d e f }
2375 If you want to use both @code{\transpose} and @code{\relative}, then
2376 you must use @code{\transpose} first. @code{\relative} will have no
2377 effect music that appears inside a @code{\transpose}.
2379 @node Sound output for transposing instruments
2380 @subsection Sound output transposing instruments
2382 When you want to play a score containing transposed and untransposed
2383 instruments, you have to instruct LilyPond the pitch offset (in
2384 semitones) for the transposed instruments. This is done using the
2385 @code{transposing} property. It does not affect printed output.
2387 @cindex @code{transposing}
2390 \property Staff.instrument = #"Cl. in B-flat"
2391 \property Staff.transposing = #-2
2395 @c . {Multi measure rests}
2396 @node Multi measure rests
2397 @subsection Multi measure rests
2398 @cindex Multi measure rests
2402 Multi measure rests are entered using `@code{R}'. It is specifically
2403 meant for entering parts: the rest can expand to fill a score with
2404 rests, or it can be printed as a single multimeasure rest This expansion
2405 is controlled by the property @code{Score.skipBars}. If this is set to true,
2406 Lily will not expand empty measures, and the appropriate number is added
2409 @lilypond[fragment,verbatim]
2410 \time 3/4 R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2413 Currently, there is no way to condense multiple rests into a single
2416 @cindex condensing rests
2418 @node Automatic part combining
2419 @subsection Automatic part combining
2420 @cindex automatic part combining
2421 @cindex part combiner
2423 Automatic part combining is used to merge two parts of music onto on
2424 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2425 and orchestral scores. When the two parts are identical for a period of
2426 time, only one is shown. In places where the two parts differ, stem
2427 directions are set automatically. Also, soli and @emph{a due} parts can be
2428 identified and marke.
2430 The syntax for part combining is
2433 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2436 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2437 combined into one context @var{context}. The context names of the music
2438 expressions must start with the prefixes @code{one} and @code{two}.
2440 The most useful function of the part combiner to combining threads into
2441 one voice, as common for wind parts in orchestral scores:
2443 @lilypond[verbatim,singleline,fragment]
2445 \context Voice=one \partcombine Voice
2446 \context Thread=one \relative c'' {
2449 \context Thread=two \relative c'' {
2455 Notice that the first @code{g} appears only once, although it was
2456 specified twice (once in each Thread). Also note that stem, slur and tie
2457 directions are set automatically, depending whether there is a solo or
2458 unisono. The Thread called @code{one} always gets up stems, and "solo",
2459 while @code{two} always gets down stems and "Solo II".
2461 If you just want the splitting of Threads and setting of directions, and
2462 not the textual markings, you may set the property @var{soloADue} to
2463 false. This mode can be used to set hymns:
2465 @lilypond[verbatim,singleline,fragment]
2467 \property Staff.soloADue = ##f
2468 \context Voice=one \partcombine Voice
2469 \context Thread=one \relative c'' {
2472 \context Thread=two \relative c'' {
2478 There are a number of other properties that you can use to tweak
2479 the behavior of part combining, refer to the automatically generated
2480 documentation. Look for @code{Thread_devnull_engraver}
2481 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2485 In @code{soloADue} mode, when the two voices play the same notes on and
2486 off, the part combiner may typeset @code{a2} more than once in a
2489 @lilypond[fragment,singleline]
2491 \context Voice=one \partcombine Voice
2492 \context Thread=one \relative c'' {
2495 \context Thread=two \relative c'' {
2501 @cindex @code{Thread_devnull_engraver}
2502 @cindex @code{Voice_engraver}
2503 @cindex @code{A2_engraver}
2505 @node Hara-kiri staffs
2506 @subsection Hara-kiri staffs
2508 In orchestral scores, staffs that only have rests are usually removed.
2509 This saves some space. LilyPond also supports this through the
2510 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2511 of the Japanese Samourai warriors.} staff. This staff commits suicide
2512 when it finds itself to be empty after the line-breaking process---note
2513 that it will not disappear when it contains normal rests, you must use
2514 multi measure rests.
2516 The hara kiri staff is specialized version of the Staff context. It is
2517 available as the context identifier @code{\HaraKiriStaffContext}.
2518 Observe how the second staff in this example disappears in the second
2523 \notes \relative c' <
2524 \context Staff = SA { e4 f g a \break c1 }
2525 \context Staff = SB { c4 d e f \break R1 }
2529 \translator { \HaraKiriStaffContext }
2542 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2543 staff context symbol that appears at the end of a staff line. It
2544 anticipates the pitch of the first note(s) of the following line and
2545 thus helps the player or singer to manage line breaks during
2546 performance, thus enhancing readability of a score.
2550 \notes { c'1 d' e' d' \break c' d' e' d' }
2554 \consists Custos_engraver
2555 Custos \override #'style = #'mensural
2561 Custodes were frequently used in music notation until the 16th century.
2562 There were different appearences for different notation styles.
2563 Nowadays, they have survived only in special forms of musical notation
2564 such as via the @emph{editio vaticana} dating back to the beginning of
2567 For typesetting custodes, just put a @code{Custos_engraver} into the
2568 @code{StaffContext} when declaring the @code{\paper} block. In this
2569 block, you can also globally control the appearance of the custos symbol
2570 by setting the custos @code{style} property. Currently supported styles
2571 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2578 \consists Custos_engraver
2579 Custos \override #'style = #'mensural
2584 The property can also be set locally, for example in a @code{\notes}
2589 \property Staff.Custos \override #'style = #'vaticana
2590 c'1 d' e' d' \break c' d' e' d'
2594 @c . {Tuning output}
2596 @section Tuning output
2598 LilyPond tries to take as much formatting as possible out of your
2599 hands. Nevertheless, there are situations where it needs some help, or
2600 where you want to override its decisions. In this section we discuss
2601 ways to do just that.
2603 Notation output is specified in so called grobs (graphic objects). Each
2604 grob carries with it a set of properties (grob properties) specific to
2605 that object. For example, a stem grob has properties that specify its
2606 direction, length and thickness.
2609 The most common way of tuning the output is to alter the values of these
2610 properties. There are two ways of doing that: first, you can temporarily
2611 change the definition of a certain type of grob, thus affecting a whole
2612 set of objects. Second, you can select one specific object, and set a
2616 * Tuning groups of grobs ::
2617 * Tuning per grob ::
2625 @node Tuning groups of grobs
2626 @subsection Tuning groups of grobs
2628 @cindex grob description
2630 A grob definition is a Scheme association list, that is stored in a context
2631 property. By assigning to that property (using plain @code{\property}),
2632 you can change the resulting grobs.
2634 @lilypond[verbatim, fragment]
2635 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2638 The @code{\property} assignment effectively empties the definition of
2639 the Stem object. One of the effects is that property specifying how it
2640 should be printed is erased, with the effect of rendering it invisible.
2641 The above assignment is available as a standard identifier, lest you
2644 @c FIXME: doesn't work well for eg StaffSymbol
2646 \property Voice.Stem = \turnOff
2653 This mechanism is fairly crude, since you can only set, but not modify,
2654 the definition of a grob. For this reason, there is a more advanced
2655 mechanism: you can add a property on top of an existing definition, or
2656 remove a property: @code{\override} adds a settings, @code{\revert}
2657 removes that setting.
2660 c'4 \property Voice.Stem \override #'thickness = #4.0
2661 c'4 \property Voice.Stem \revert #'thickness
2665 For the digirati, the grob description is an Scheme association
2666 list. Since it is singly linked, we can treat it as a stack, and
2667 @code{\override} and @code{\revert} are just push and pop
2668 operations. This pushing and popping is also used for overriding automatic
2671 If you revert a setting which was not set in the first place, then it
2672 has no effect. However, if the setting was set as a system default, it
2673 may remove the default value, and this may give surprising results,
2674 including crashes. In other words, if you use @code{\override} and
2675 @code{\revert}, be sure to balance the overrides and reverts.
2677 If balancing them is too much work, use the @code{\set} shorthand. It
2678 performs a revert followed by an override:
2680 \property Voice.Stem \set #'thickness = #2.0
2683 Formally the syntax for these constructions is
2685 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2686 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2687 \property @var{context}.@var{grobname} \revert @var{symbol}
2689 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2690 and @var{grobname} are strings and @var{value} is a Scheme expression.
2693 Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
2697 \override \set \set \set \set
2701 This is always correct, but if you know the default value, you can also use
2704 \set @var{to default value}
2707 If there is no default (i.e. by default, the grob property is unset),
2710 \set \set \set \set \set
2717 LilyPond will hang or crash if @var{value} contains cyclic references.
2718 The backend is not very strict in type-checking grob properties. If you
2719 @code{\revert} properties that are expected to be set by default,
2724 @node Tuning per grob
2725 @subsection Tuning per grob
2727 @cindex \outputproperty
2729 A second way of tuning grobs is the more arcane @code{\outputproperty}
2731 Syntax is as follows
2733 \outputproperty @var{predicate} @var{symbol} = @var{value}
2735 Here @code{predicate} is a Scheme function taking a grob argument, and
2736 returning a boolean. This statement is processed by the
2737 @code{Output_property_engraver}. It instructs the engraver to feed all
2738 grobs that it sees to @var{predicate}. Whenever the predicate returns
2739 true, the grob property @var{symbol} will be set to @var{value}.
2741 You will need to combine this statement with @code{\context} to select
2742 the appropriate context to apply this to.
2744 If possible, avoid this feature: the semantics are not very clean, and
2745 the syntax and semantics are up for rewrite.
2747 Here are some random examples:
2749 @lilypond[fragment,verbatim,singleline]
2751 \context Staff \outputproperty
2752 #(make-type-checker 'note-head-interface)
2753 #'extra-offset = #'(0.5 . 0.75)
2757 @cindex @code{extra-offset}
2759 This selects all note heads occurring at current staff level, and sets
2760 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2763 Move the text "m.d.", but not the fingering instruction "2".
2764 @lilypond[verbatim,singleline]
2765 #(define (make-text-checker text)
2766 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2769 \notes\relative c''' {
2770 \property Voice.Stem \set #'direction = #1
2771 \outputproperty #(make-text-checker "m.d.")
2772 #'extra-offset = #'(-3.5 . -4.5)
2782 @subsection What to tune?
2784 This all tells you how to tune grobs, but what variables are there? The
2785 question is not answered in this manual (although you may encounter
2788 Grob properties are tied directly to the implementation of LilyPond, and
2789 they are thus a moving target. Documentation of such variables are part
2790 of the generated documentation: this documentation is generated from the
2791 sourcecode of lily for each version, so it is usually mch more up to
2792 date than this manual. It should be available from the same place where
2793 you got this manual.
2795 To decide how to tune a grob, you need to find the following information
2798 which grob to modify
2800 which property to modify
2802 which context the grob comes from.
2805 Included with the automatically generated documentation is a master list
2806 of grobs. Each one can be clicked, taking you to a overview of the
2807 available properties.
2809 There is also a master list of contexts. Clicking each takes you to an
2810 overview of the context, listing which grob types are created there.
2813 @node Font selection
2814 @subsection Font selection
2816 Most graphics in LilyPond are composed of characters of fonts. You can
2817 alter the characteristics of the font by setting certain grob
2818 properties. The mechanism that is used for this resembles LaTeX's New
2819 Font Selection Scheme. Within this scheme, a font is entirely
2820 characterized by its font name.
2822 For each grob that uses fonts (in other words, each grob that supports
2823 @code{font-interface}) a font-name must be selected before it can be
2824 printed. The font name is selected by looking at a number of grob
2829 The general class of the typeface. Supported are roman (Computer
2830 Modern), braces (for piano staff braces), music (the standard music
2831 font), dynamic (font for dynamic signs) and typewriter
2834 A symbol indicating the shape of the font, a finer gradation than
2835 font-family. Choices are italic and upright
2837 Symbol indicating the serie of the font. Series form a finer gradation
2838 than font-shape. Choices are medium and bold.
2840 @item font-relative-size
2841 A number indicating the size relative the standard size. For example,
2842 with 20pt staff height, relative size -1 corresponds to 16pt staff
2843 height, and relative size +1 corresponds to 23 pt staff height.
2845 @item font-design-size
2846 A number indicating the design size of the font.
2848 This is a feature of the Computer Modern Font: each point size has a
2849 slightly different design. Smaller design sizes are relatively wider,
2850 which enhances readability. Scalable type faces such TrueType and Adobe
2851 Type1 usually come as ``one design fits all sizes''.
2854 The name of the font, without the design size, eg. @code{cmr},
2855 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2860 The font is selected by taking the first font that satisfies all
2861 qualifiers specified. You can override any of these fields through
2862 @code{\override} and @code{\revert}. The special value @code{*} matches
2863 any value for that qualifier.
2866 \property Lyrics.LyricText \override #'font-series = #'bold
2867 \property Lyrics.LyricText \override #'font-shape = #'*
2870 @cindex @code{font-style}
2872 There are also pre-cooked font selection qualifiers. These are selected
2873 through the grob property @code{font-style}. For example, the style
2874 @code{finger} selects family @code{number} and relative size @code{-3}.
2875 Styles available include: volta, finger, tuplet, timesig, mmrest,
2876 script, large, Large and dynamic.
2878 The style sheets and tables for selecting fonts are located in
2879 @file{scm/font.scm}. Refer to this file for more information.
2883 Relative size is not linked to any real size.
2885 There is no mechanism to select magnification of particular fonts,
2886 meaning that you don't have access to continuously scaled fonts. You
2887 can scale the entire output, of course, see @ref{Output scaling}.
2889 There is no style sheet provided for other fonts besides the @TeX{}
2892 @cindex font selection
2893 @cindex font magnification
2894 @cindex @code{font-interface}
2898 @subsection Text markup
2902 LilyPond has an internal mechanism to typeset texts. You can
2903 form text markup expressions by composing scheme expressions
2904 in the following way.
2906 @lilypond[verbatim, singleline]
2911 c^#'(italic "italic")
2912 d_#'((bold italic) "ff")
2914 f_#'(lines "one" (bold "two"))
2915 g^#'(music "noteheads-2" "flags-u3")
2919 Normally, the Scheme markup text is stored in the @code{text} property
2920 of a grob. Formally, it is defined as follows:
2923 text: string | (head? text+)
2924 head: markup | (markup+)
2925 markup-item: property | abbrev
2926 property: (@var{key} . @var{value})
2927 abbrev: @code{rows lines roman music bold italic named super sub text}
2928 @code{finger volta timesig mmrest mark script large Large dynamic}
2931 The markup is broken down and converted into a list of grob properties,
2932 which are prepended to the property list. The @var{key}-@var{value}
2933 pair is a grob property.
2935 The following abbreviations are currently defined:
2939 horizontal mode: set all text on one line (default)
2941 vertical mode: set every text on new line
2951 lookup by character name
2953 plain text lookup (by character value)
2959 select fingering number fontstyle
2961 select volta number fontstyle
2963 select time signature number fontstyle
2965 select multi measure rest number fontstyle
2967 select mark number fontstyle
2969 select scriptsize roman fontstyle
2971 select large roman fontstyle
2973 select Large roman fontstyle
2975 select dynamics fontstyle
2978 It is possible to use @TeX{} commands in the strings, but this should be
2979 avoided because this makes it impossible for LilyPond to compute the
2980 exact length of the string, which may lead to collisions. Also, @TeX{}
2981 commands won't work with direct PostScript output (see @ref{PostScript
2984 @cindex metronome mark
2986 One practical application of complicated markup is to fake a metronome
2990 #(define note '(rows
2991 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
2992 #(define eight-note `(rows ,note ((kern . -0.1)
2993 (music ((raise . 3.5) "flags-u3")))))
2994 #(define dotted-eight-note
2995 `(rows ,eight-note (music "dots-dot")))
2998 \notes\relative c'' {
2999 a1^#`((rows (font-relative-size . -1)) ,dotted-eight-note " = 64")
3005 TextScript \override #'font-shape = #'upright
3011 @node Invisible grobs
3012 @subsection Invisible grobs
3013 @cindex invisible grobs
3015 You can imagine a number of situtations where you would want to make
3016 certain grobs not show up in the output. There may be aesthetic
3017 reasons, to make the output resemble an (old) manuscript as close as
3018 possible, or to make lessons or exercises for students.
3020 Grobs can be made invisible in a number of ways:
3025 Move \turnOff feature here and explain why it doesn't work for eg
3028 Show molecule-callback override
3029 StaffSymbol \override #'molecule-callback = #(lambda (x) '())
3031 Show visibility-lambda and explain why it doesn't work for eg
3035 Here's an example with blanked-out notes and stems:
3036 @lilypond[singleline,verbatim]
3038 \property Voice.NoteHead \override
3039 #'molecule-callback = #(lambda (x) '())
3040 \property Voice.Stem \override
3041 #'molecule-callback = #(lambda (x) '()) }
3044 \property Voice.NoteHead \revert #'molecule-callback
3045 \property Voice.Stem \revert #'molecule-callback }
3048 \notes\relative c'' {
3050 a b c b \blanknotes c \unblanknotes d
3055 Some grobs require a special treatment.
3057 Rhythm exercise: make staff invisible and squash pitches:
3058 @lilypond[singleline,verbatim]
3060 \notes { \time 3/4 c4 c c8 c | c4 c c8 c }
3064 \remove Staff_symbol_engraver
3065 \consists Pitch_squash_engraver
3066 \remove Clef_engraver
3072 Some modern music does not show bar lines:
3073 @lilypond[singleline,verbatim]
3075 \notes \relative c'' {
3083 \remove "Time_signature_engraver"
3091 @subsection Embeded TeX
3092 @cindex embedded tex
3093 @cindex embedded tex
3095 You can use @TeX{} commands in text scripts, but this should be avoided
3096 because this makes it impossible for LilyPond to compute the exact
3097 length of the string, which may lead to collisions. Also, @TeX{}
3098 commands won't work with direct PostScript output (see @ref{PostScript
3101 @lilypond[fragment,relative,verbatim]
3102 a''^"3 $\\times$ \\`a deux"
3105 @subsection Embedded PostScript
3106 @cindex embedded postscript
3107 @cindex embedded postscript
3109 You can also use raw PostScript commands embedded in text scripts. This
3110 offers ultimate flexibitily, but you'll have to learn the arcane
3111 PostScript language. Currently, embedded PostScript will @strong{not}
3112 work with direct PostScript output. Note that all dimensions that you
3113 use are in @code{staff-space}s.
3117 \notes \relative c'' {
3118 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3119 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3120 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3124 \paper { linewidth = 70*\staffspace }
3131 @section Page layout
3146 @subsection Paper block
3149 The most important output definition is the @code{\paper} block, for
3150 music notation. The syntax is
3153 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3156 where each of the items is one of
3159 @item An assignment.
3161 @item A context definition. See @ref{Notation Contexts} for
3162 more information on context definitions.
3164 @item \stylesheet declaration. Its syntax is
3166 \stylesheet @var{alist}
3169 See @file{scm/font.scm} for details of @var{alist}.
3170 @item an \elementdescriptions declaration.
3172 \elementdescriptions @var{alist}
3174 See @file{scm/grob-description.scm} for details of @var{alist}.
3178 @c . {Paper variables}
3179 @node Paper variables
3180 @subsection Paper variables
3181 @cindex Paper variables
3183 The paper block has some variables you may want to use or change:
3186 @cindex @code{indent}
3188 The indentation of the first line of music.
3189 @cindex @code{staffspace}
3191 @item @code{staffspace}
3192 The distance between two staff lines, calculated from the center
3193 of the lines. If you want scale independent output, then you should
3194 use either this or @code{stafflinethickness}
3195 as a unit for distances you modify.
3197 @cindex @code{linewidth}
3198 @item @code{linewidth}
3199 Sets the width of the lines.
3201 If set to a negative value, a single unjustified line is produced.
3202 @c rename to singleLinePaper ?
3203 The shorthand @code{\singleLine} defines a default paper block that
3204 produces a single line.
3206 @cindex @code{textheight}
3208 @item @code{textheight}
3209 Sets the total height of the music on each page. Only used by
3212 @cindex @code{interscoreline}
3214 @item @code{interscoreline}
3215 Sets the spacing between systems.
3217 @cindex @code{interscorelinefill}
3221 @item @code{interscorelinefill}
3222 If set to a positive number, the distance between the score
3223 lines will stretch in order to fill the full page. In that
3224 case @code{interscoreline} specifies the minimum spacing.
3229 @cindex @code{stafflinethickness}
3231 @item @code{stafflinethickness}
3232 Determines the thickness of staff lines, and also acts as a scaling
3233 parameter for other line thicknesses.
3240 @subsection Font size
3243 The Feta font provides musical symbols at six different sizes. These
3244 fonts are 11 point, 13 point, 16 point, 20 point,
3245 23 point, and 26 point. The point size of a font is the
3246 height of the five lines in a staff when displayed in the font.
3248 Definitions for these sizes are the files @file{paperSZ.ly}, where
3249 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3250 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3251 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3252 @code{paperTwentysix} are defined respectively. The default
3253 @code{\paper} block is also set.
3255 The font definitions are generated using a Scheme function. For more
3256 details, see the file @file{font.scm}.
3262 @subsection Paper size
3267 @cindex @code{papersize}
3269 To change the paper size, you must first set the
3270 @code{papersize} variable at top level. Set it to
3271 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3272 specification, you must set the font as described above. If you want
3273 the default font, then use the 20 point font. The new paper size will
3274 not take effect if the font is not loaded and selected afterwards.
3278 \include "paper16.ly"
3282 \paper @{ \paperSixteen @}
3286 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3287 will set the paper variables @code{hsize} and @code{vsize} (used by
3292 @subsection Line break
3295 @cindex breaking lines
3297 Line breaks are normally computed automatically. They are chosen such
3298 that the resulting spacing has low variation, and looks neither cramped
3301 Occasionally you might want to override the automatic breaks; you can do
3302 this by specifying @code{\break}. This will force a line break at this
3303 point. Do remember that line breaks can only occur at places where there
3304 are barlines. If you want to have a line break where there is no
3305 barline, you can force an invisible barline by entering @code{\bar ""}.
3307 Similarly, @code{\noBreak} forbids a line break at a certain point.
3309 @cindex @code{\penalty}
3311 The @code{\break} and @code{\noBreak} commands are defined in terms of
3312 the penalty command:
3314 \penalty @var{int} @code{;}
3317 This encourages or discourages LilyPond to make a line break at this
3322 The scaling of the @code{\penalty} argument is not well-defined. The
3323 command is rather kludgy, and slated for rewriting.
3327 @subsection Page break
3330 @cindex breaking pages
3333 Page breaks are normally computed by @TeX{}, so they are not under
3334 direct control of LilyPond. However, you can insert a commands into the
3335 @file{.tex} output to instruct @TeX{} where to break pages. For more
3336 details, see the example file @file{input/test/between-systems.ly}
3340 @c . {Output scaling}
3341 @node Output scaling
3342 @subsection Output scaling
3356 There is no mechanism to select magnification of particular fonts,
3357 meaning that you don't have access to continuously scaled fonts.
3361 @c . {Output formats}
3362 @node Output formats
3363 @section Output formats
3365 LilyPond can output processed music in different output formats.
3369 * PostScript output::
3371 * ASCIIScript output::
3375 @subsection TeX output
3378 LilyPond will use @TeX{} by default. Even if you want to produce
3379 PostScript output for viewing or printing, you should normally have
3380 LilyPond produce @TeX{} first. The .tex output must be processed by
3381 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3382 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3383 used to generate the .dvi for you.
3386 @node PostScript output
3387 @subsection PostScript output
3388 @cindex PostScript output
3389 @cindex direct PostScript output
3391 LilyPond can produce PostScript directly, without going through @TeX{}.
3392 Currently, this is mainly useful if you cannot use TeX, because direct
3393 PostScript output has some problems; see Bugs below.
3396 $ lilypond -fps foo.ly
3397 GNU LilyPond 1.3.144
3398 Now processing: `foo.ly'
3400 Interpreting music...[3]
3401 Preprocessing elements...
3402 Calculating column positions...
3403 paper output to foo.ps...
3405 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3411 Text font selection is broken.
3413 The .ps file does not contain the .pfa font files. To print a .ps
3414 created through direct postscript output, you should prepend the
3415 necessary .pfa files to LilyPond's .ps output, or upload them to the
3416 printer before printing.
3418 Titling is not generated. FIXME: adding titling should not be too
3423 @subsection Scheme output
3424 @cindex Scheme output
3429 $ lilypond -fscm foo.ly
3430 GNU LilyPond 1.3.144
3431 Now processing: `foo.ly'
3433 Interpreting music...[3]
3434 Preprocessing elements...
3435 Calculating column positions...
3436 paper output to foo.scm...
3439 ;;; Usage: guile -s x.scm > x.tex
3440 (primitive-load-path 'standalone.scm)
3444 $ guile -s foo.scm > foo.tex
3448 @node ASCIIScript output
3449 @subsection ASCIIScript output
3450 @cindex ASCIIScript output
3451 @cindex ascii script
3454 LilyPond can output ASCII Art. This is a two step process, LilyPond
3455 produces an ASCII description file, dubbed ASCIIScript (extension
3456 @file{.as}). ASCIIScript has a small and simple command set that
3457 includes font selection, character and string printing and line drawing
3458 commands. The program @file{as2text} is used to translate an .as file
3461 To produce ASCII Art, you must include an ASCII Art paper definition
3462 file in your .ly, one of:
3464 \include "paper-as5.ly"
3465 \include "paper-as9.ly"
3468 Here's an example use for ASCII Art output (the example file
3469 @file{as-email.ly} is included in the LilyPond distribution), the staff
3470 symbol has been made invisible:
3473 To: bug-gnu-music@@gnu.org
3474 Subject: LilyPond-1.3.144 beaming broken in 5/8 time
3479 Subject says it all.
3481 $ lilypond -fas as-email.ly
3482 GNU LilyPond 1.3.144
3483 Now processing: `as-email.ly'
3485 Interpreting music...[3]
3486 Preprocessing elements...
3487 Calculating column positions... [2]
3488 paper output to as-email.as...
3490 $ as2text as-email.as 2>/dev/null
3492 |/ |##|##| | | | | |
3493 /| | | | | |\ |\ |\ |\ |\ |
3494 / |_ 3 | | | | 5 | )| )| )| )| )|
3495 | /| \ 8 * * * | 8 * * * * * |
3505 The ASCII Art fonts are far from complete and not very well designed.
3506 It's easy to change the glyphs, though; if you think you can do better,
3507 have a look at @file{mf/*.af}.
3509 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3511 The poor looks of most ASCII Art output and its limited general
3512 usefulness make that ASCII Art output has a low priority; it may be
3513 dropped in future versions.
3520 LilyPond can produce MIDI output. The performance lacks lots of
3521 interesting effects, such as swing, articulation, slurring, etc., but it
3522 is good enough for proof-hearing the music you have entered. Ties,
3523 dynamics and tempo changes are interpreted.
3525 The MIDI volume is composed of two elements: the current dynamics of the
3526 voice and the type of musical instrument.
3528 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3529 levels. Dynamic marks translate to a fixed fraction of the available
3530 MIDI volume range, crescendi and decrescendi make the the volume vary
3531 linearly between their two extremities. The fractions be adjusted by
3532 overriding the @code{absolute-volume-alist} defined in
3533 @file{scm/midi.scm}.
3535 For each type of musical instrument (that MIDI supports), a volume range
3536 can be defined. This gives you basic equaliser control, which can
3537 enhance the quality of the MIDI output remarkably. You can add
3538 instruments and ranges or change the default settings by overriding
3539 the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
3543 It is currently not possible to use the percussion channel (generally
3544 channel 10 of a MIDI file).
3548 * MIDI instrument names::
3553 @subsection MIDI block
3557 The MIDI block is analogous to the paper block, but it is somewhat
3558 simpler. The @code{\midi} block can contain:
3562 @item a @code{\tempo} definition
3563 @item context definitions
3566 Assignments in the @code{\midi} block are not allowed.
3570 @cindex context definition
3572 Context definitions follow precisely the same syntax as within the
3573 \paper block. Translation modules for sound are called performers.
3574 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3577 @node MIDI instrument names
3578 @subsection MIDI instrument names
3580 @cindex instrument names
3581 @cindex @code{Staff.midiInstrument}
3582 @cindex @code{Staff.instrument}
3584 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3585 property or, if that property is not set, the @code{Staff.instrument}
3586 property. The instrument name should be chosen from the list in
3587 @ref{MIDI instruments}.
3591 If the selected string does not exactly match, then LilyPond uses the
3592 default piano. It is not possible to select an instrument by number.
3604 @section Music entry
3612 One of the applications of LilyPond is to enter music from existing
3613 written or printed material. When you're doing this kind of copying
3614 work, you can easily make mistakes. This section deals with tricks and
3615 features that help you enter music, and find and correct mistakes.
3619 @subsection Relative
3621 @cindex relative octave specification
3623 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3624 When you copy existing music, it is easy to accidentally put a pitch in
3625 the wrong octave and hard to find such an error. To prevent these
3626 errors, LilyPond features octave entry.
3628 @cindex @code{\relative}
3630 \relative @var{startpitch} @var{musicexpr}
3633 The octave of notes that appear in @var{musicexpr} are calculated as
3634 follows: If no octave changing marks are used, the basic interval
3635 between this and the last note is always taken to be a fourth or less.
3636 The octave changing marks @code{'} and @code{,} can then
3637 be added to raise or lower the pitch by an extra octave. Upon entering
3638 relative mode, an absolute starting pitch must be specified that will
3639 act as the predecessor of the first note of @var{musicexpr}.
3641 This distance is determined without regarding accidentals: a
3642 @code{fisis} following a @code{ceses} will be put above the
3645 Entering music that changes octave frequently is easy in relative mode.
3646 @lilypond[fragment,singleline,verbatim,center]
3652 And octave changing marks are used for intervals greater than a fourth.
3653 @lilypond[fragment,verbatim,center]
3655 c g c f, c' a, e'' }
3658 If the preceding item is a chord, the first note of the chord is used
3659 to determine the first note of the next chord. But other notes
3660 within the second chord are determined by looking at the immediately
3663 @lilypond[fragment,verbatim,center]
3670 @cindex @code{\notes}
3672 The pitch after the @code{\relative} contains a notename. To parse
3673 the pitch as a notename, you have to be in note mode, so there must
3674 be a surrounding @code{\notes} keyword (which is not
3677 The relative conversion will not affect @code{\transpose},
3678 @code{\chords} or @code{\relative} sections in its argument. If you
3679 want to use relative within transposed music, you must place an
3680 additional @code{\relative} inside the @code{\transpose}.
3685 @subsection Bar check
3689 @cindex @code{barCheckNoSynchronize}
3693 Whenever a bar check is encountered during interpretation, a warning
3694 message is issued if it doesn't fall at a measure boundary. This can
3695 help you find errors in the input. Depending on the value of
3696 @code{barCheckNoSynchronize}, the beginning of the measure will be
3697 relocated, so this can also be used to shorten measures.
3699 A bar check is entered using the bar symbol, @code{|}
3701 @c . {Point and click}
3702 @node Point and click
3703 @subsection Point and click
3705 Point and click lets you find notes in the input by clicking on them in
3706 the Xdvi window. This makes it very easy to find input that causes some
3707 error in the sheet music.
3709 To use it, you need the following software
3713 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3714 Xdvi} version 22.36 or newer.
3716 Note that most @TeX{} distributions ship with xdvik, which is a
3717 different and less well maintained program. To find out which xdvi you
3718 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3722 Add one of these lines to the top of your .ly file. The first one is for
3723 line location only. The second one is more convenient, but requires
3724 patching @code{emacsclient} and @code{server.el}.
3727 #(set! point-and-click line-location)
3728 #(set! point-and-click line-column-location)
3731 In the emacs startup file (usually @file{~/.emacs}), add the following
3736 If you want emacs to jump to the exact spot (and not just the line) on a
3737 click, you must enable column positioning. To do so, you need to patch
3738 emacsclient. Apply @file{emacsclient.patch} (included with the source
3739 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3740 source code. Recompile and stick the recompiled emacsclient into a bin
3741 directory, and put @file{server.el} into a elisp directory
3742 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3743 init file, before invoking server-start.
3746 (setq load-path (cons "~/usr/share/emacs" load-path))
3750 Xdvi must be configured to use the emacs editor. Before starting, set
3751 the environment variable @code{XEDITOR} to one of these strings. The
3752 second one, that also specifies the column, only works if you have
3753 patched your emacsclient and server, and have compiled your @code{.ly}
3754 file using the @code{line-column-location} setting (see above).
3756 emacsclient --no-wait +%l %f
3757 emacsclient --no-wait +%l:%c %f
3759 Xdvi also must be configured to find the fonts. Refer to the
3760 xdvi documentation for more information.
3762 When viewing, control-mousebutton 1 will take you to the originating
3763 line and column. Control-mousebutton 2 will show all clickable boxes.
3767 When you convert the TeX file to PostScript using dvips, dvips
3768 will complain about not finding @code{src:X:Y} files. Those complaints are
3769 harmless, and can be ignored.
3771 When using @code{line-colum-location}, the cursor will be one off; it
3772 will not jump to the exact note that you clicked, but to the next one.
3773 We hope to fix this before 1.4.
3775 @node Skipping corrected music
3776 @section Skipping corrected music
3778 The property @code{Score.skipTypesetting} can be used to switch on and
3779 off typesetting completely during the interpretation phase. When
3780 typesetting is switched off, the music is processed much more quickly.
3781 You can use this to skip over the parts of a score that you have already
3784 @lilypond[fragment,singleline,verbatim]
3785 \relative c'' { c8 d
3786 \property Score.skipTypesetting = ##t
3788 \property Score.skipTypesetting = ##f
3793 @node Interpretation context
3794 @section Interpretation context
3797 * Notation Contexts::
3798 * Creating contexts::
3799 * Default contexts::
3800 * Context properties::
3801 * Changing context definitions::
3802 * Defining new contexts::
3806 @c . {Notation Contexts}
3807 @node Notation Contexts
3808 @subsection Notation Contexts
3810 @cindex notation contexts
3812 Notation contexts are objects that only exist during a run of LilyPond.
3813 During the interpretation phase of LilyPond (when it prints
3814 "interpreting music"), the music expresiion in a @code{\score} block is
3815 interpreted in time order. This is the same order that humans hear and
3818 During this interpretation, the notation context is holds the state for
3819 the current point within the music. It contains information like
3822 @item What notes are playing at this point?
3823 @item What symbols will be printed at this point?
3824 @item What is the current key signature, time signature, point within
3828 Contexts are grouped hierarchically: A @code{Voice} context is
3829 contained in a @code{Staff} context (because a staff can contain
3830 multiple voices at any point), a @code{Staff} context is contained in
3831 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3832 these can all contain multiple staffs).
3835 Contexts associated with sheet music output are called @emph{notation
3836 contexts}, those for sound output are called performance contexts.
3839 @node Creating contexts
3840 @subsection Creating contexts
3842 @cindex @code{\context}
3843 @cindex context selection
3845 Contexts for a music expression can be selected manually, using the
3846 following music expression.
3849 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3852 This instructs lilypond to interpret @var{musicexpr} within the context
3853 of type @var{contexttype} and with name @var{contextname}. If this
3854 context does not exist, it will be created.
3856 @lilypond[verbatim,singleline]
3858 \notes \relative c'' {
3859 c4 <d4 \context Staff = "another" e4> f
3865 In this example, the @code{c} and @code{d} are printed on the
3866 default staff. For the @code{e}, a context Staff called
3867 @code{another} is specified; since that does not exist, a new
3868 context is created. Within @code{another}, a (default) Voice context
3869 is created for the @code{e4}. When all music referring to a
3870 context is finished, the context is ended as well. So after the
3871 third quarter, @code{another} is removed.
3875 @node Default contexts
3876 @subsection Default contexts
3878 Most music expressions don't need @code{\context}: they inherit the
3879 notation context from their parent. Each note is a music expression, and
3880 as you can see in the following example, only the sequential music
3881 enclosing the three notes has an explicit context.
3883 @lilypond[verbatim,singleline]
3884 \score { \notes \context Voice = goUp { c'4 d' e' } }
3887 There are some quirks that you must keep in mind when dealing with
3890 First, every top-level music is interpreted by the Score context, in other
3891 words, you may think of @code{\score} working like
3894 \context Score @var{music}
3898 Second, sequential music follows the contexts of its
3899 ``children''. Consider the following example.
3901 @lilypond[verbatim, singleline]
3902 \score { \context Score \notes { c'4 ( d' )e' } }
3905 The sequential music is interpreted by the Score context initially
3906 (notice that the @code{\context} specification is redundant), but when a
3907 note is encountered, contexts are setup to accept that note. In this
3908 case, a Thread, Voice and Staff are created. The rest of the sequential
3909 music is also interpreted with the same Thread, Voice and Staff context,
3910 putting the notes on the same staff, in the same voice.
3912 This is a convenient mechanism, but do not expect opening chords to work
3913 without @code{\context}. For every note, a separate staff is
3916 @lilypond[verbatim, singleline]
3917 \score { \notes <c'4 es'> }
3920 Of course, if the chord is preceded by a normal note in sequential
3921 music, the chord will be interpreted by the Thread of the preceding
3923 @lilypond[verbatim,singleline]
3924 \score { \notes { c'4 <c'4 es'> } }
3929 @node Context properties
3930 @subsection Context properties
3932 Notation contexts can be modified from within the @file{.ly} file. The
3933 following music expression does that job:
3935 @cindex @code{\property}
3937 \property @var{contextname}.@var{propname} = @var{value}
3940 Sets the @var{propname} property of the context @var{contextname} to the
3941 specified Scheme expression @var{value}. All @var{propname} and
3942 @var{contextname} are strings, which are typically unquoted.
3944 Properties that are set in one context are inherited by all of the
3945 contained contexts. This means that a property valid for the
3946 @code{Voice} context can be set in the @code{Score} context (for
3947 example) and thus take effect in all @code{Voice} contexts.
3949 Properties can be unset using the following expression:
3951 \property @var{contextname}.@var{propname} \unset
3954 This removes the definition of @var{propname} in @var{contextname}. If
3955 @var{propname} was not defined in @var{contextname} (but was inherited
3956 from a higher context), then this has no effect.
3961 @code{\property \unset} is not the inverse of @code{\property \set}
3966 @c . {Context definitions}
3967 @node Changing context definitions
3968 @subsection Changing context definitions
3970 @cindex context definition
3971 @cindex translator definition
3973 The most common way to define a context is by extending an existing
3974 context. You can change an existing context from the paper block, by
3975 first initializing a translator with an existing context identifier:
3979 @var{context-identifier}
3982 Then you can add engravers, remove engravers.
3983 The syntax for these operations are respectively
3985 \remove @var{engravername}
3986 \consists @var{engravername}
3990 Here @var{engravername} is a string, the name of an engraver in the
3993 @var{propname} = @var{value}
3997 @lilypond[verbatim,singleline]
4001 \translator { \StaffContext
4002 \remove Clef_engraver
4008 You can also set properties in a translator definition. The syntax is as
4011 @var{propname} is a string and @var{value} is a Scheme
4014 @var{propname} = @var{value}
4015 @var{propname} \set @var{symbol} = @var{value}
4016 @var{propname} \override @var{symbol} = @var{value}
4017 @var{propname} \revert @var{symbol}
4021 These type of property assignments happen before interpretation starts,
4022 so a @code{\property} expression will override any predefined settings.
4025 To simplify editing translators, all standard contexts have standard
4026 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4027 @code{VoiceContext}.
4029 @node Defining new contexts
4030 @subsection Defining new contexts
4032 If you want to build a context from scratch, you must also supply the
4033 following extra information:
4035 @item A name, specified by @code{\name @var{contextname};}.
4037 @item A cooperation module. This is specified by @code{\type
4044 \type "Engraver_group_engraver"
4047 \consists "Staff_symbol_engraver"
4048 \consists "Note_head_engraver"
4049 \consistsend "Axis_group_engraver"
4053 Basic building blocks of translation are called engravers; they are
4054 special C++ classes.
4056 The argument of @code{\type} is the name for a special engraver that
4057 handles cooperation between simple engravers such as
4058 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4059 for this engraver are the following:
4061 @cindex @code{Engraver_group_engraver}
4062 @item @code{Engraver_group_engraver}
4063 The standard cooperation engraver.
4065 @cindex @code{Score_engraver}
4067 @item @code{Score_engraver}
4068 This is cooperation module that should be in the top level context,
4069 and only the toplevel context.
4071 @cindex @code{Grace_engraver_group}
4073 @item @code{Grace_engraver_group}
4074 This is a special cooperation module (resembling
4075 @code{Score_engraver}) that is used to created an embedded
4082 @item @code{\alias} @var{alternate-name}
4083 This specifies a different name. In the above example,
4084 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4086 @item @code{\consistsend} @var{engravername}
4087 Analogous to @code{\consists}, but makes sure that
4088 @var{engravername} is always added to the end of the list of
4091 Some engraver types need to be at the end of the list; this
4092 insures they are put there, and stay there, if a user adds or
4093 removes engravers. This command is usually not needed for
4096 @item @code{\accepts} @var{contextname}
4097 Add @var{contextname} to the list of context this context can
4098 contain. The first listed context is the context to create by
4101 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4102 completeness, but is never used in practice.
4105 @item @code{\name} @var{contextname}
4106 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4107 the name is not specified, the translator won't do anything.
4110 In the @code{\paper} block, it is also possible to define translator
4111 identifiers. Like other block identifiers, the identifier can only
4112 be used as the very first item of a translator. In order to define
4113 such an identifier outside of @code{\score}, you must do
4118 foo = \translator @{ @dots{} @}
4125 \translator @{ \foo @dots{} @}
4133 @cindex paper types, engravers, and pre-defined translators
4140 @c . {Syntactic details}
4141 @node Syntactic details
4142 @section Syntactic details
4143 @cindex Syntactic details
4145 This section describes details that were too boring to be put elsewhere.
4150 * Music expressions::
4151 * Manipulating music expressions::
4159 @subsection Top level
4162 This section describes what you may enter at top level.
4166 @subsubsection Score
4169 @cindex score definition
4171 The output is generated combining a music expression with an output
4172 definition. A score block has the following syntax:
4175 \score @{ @var{musicexpr} @var{outputdefs} @}
4178 @var{outputdefs} are zero or more output definitions. If none is
4179 supplied, the default @code{\paper} block will be added.
4183 @c . {Default output}
4184 @subsubsection Default output
4186 Default values for the @code{\paper} and @code{\midi} block are set by
4187 entering such a block at top-level.
4190 @subsubsection Header
4192 @cindex @code{\header}
4195 A header describes bibilographic information of the file's contents. It
4196 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4197 use this information for generating titles. Key values that are used by
4198 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4199 metre, arranger, piece and tagline.
4201 @cindex @code{ly2dvi}
4205 \header @{ @var{key1} = @var{val1}
4206 @var{key2} = @var{val2} @dots{} @}
4209 It is customary to put the @code{\header} at the top of the file.
4211 @subsubsection Default output
4213 A @code{\midi} or @code{\paper} block at top-level sets the default
4215 paper block for all scores that lack an explicit paper block.
4219 @subsection Identifiers
4222 All of the information in a LilyPond input file, is represented as a
4223 Scheme value. In addition to normal Scheme data types (such as pair,
4224 number, boolean, etc.), LilyPond has a number of specialized data types,
4231 @item Translator_def
4235 @item Music_output_def
4236 @item Moment (rational number)
4239 LilyPond also includes some transient object types. Objects of these
4240 types are built during a LilyPond run, and do not `exist' per se within
4241 your input file. These objects are created as a result of your input
4242 file, so you can include commands in the input to manipulate them,
4243 during a lilypond run.
4246 @item Grob: short for Graphical object. See @ref{Grobs}.
4247 @item Molecule: device-independent page output object,
4248 including dimensions. Produced by some Grob functions
4250 @item Translator: object that produces audio objects or Grobs. This is
4251 not yet user accessible.
4252 @item Font_metric: object representing a font. (See @ref{Font metrics})
4257 @node Music expressions
4258 @subsection Music expressions
4260 @cindex music expressions
4262 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4263 syllables are music expressions, and you can combine music expressions
4264 to form new ones, for example by enclosing a list of expressions in
4265 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4266 compound expression is formed out of the quarter note @code{c} and a
4267 quarter note @code{d}:
4270 \sequential @{ c4 d4 @}
4273 @cindex Sequential music
4274 @cindex @code{\sequential}
4275 @cindex sequential music
4278 @cindex Simultaneous music
4279 @cindex @code{\simultaneous}
4281 The two basic compound music expressions are simultaneous and
4285 \sequential @code{@{} @var{musicexprlist} @code{@}}
4286 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4288 For both, there is a shorthand:
4290 @code{@{} @var{musicexprlist} @code{@}}
4294 @code{<} @var{musicexprlist} @code{>}
4296 for simultaneous music.
4297 In principle, the way in which you nest sequential and simultaneous to
4298 produce music is not relevant. In the following example, three chords
4299 are expressed in two different ways:
4301 @lilypond[fragment,verbatim,center]
4302 \notes \context Voice {
4303 <a c'> <b d' > <c' e'>
4304 < { a b c' } { c' d' e' } >
4309 Other compound music expressions include
4312 \transpose @var{pitch} @var{expr}
4313 \apply @var{func} @var{expr}
4314 \context @var{type} = @var{id} @var{expr}
4315 \times @var{fraction} @var{expr}
4319 @c . {Manipulating music expressions}
4320 @node Manipulating music expressions
4321 @subsection Manipulating music expressions
4323 The @code{\apply} mechanism gives you access to the internal
4324 representation of music. You can write Scheme-functions that operate
4325 directly on it. The syntax is
4327 \apply #@var{func} @var{music}
4329 This means that @var{func} is applied to @var{music}. The function
4330 @var{func} should return a music expression.
4332 This example replaces the text string of a script. It also shows a dump
4333 of the music it processes, which is useful if you want to know more
4334 about how music is stored.
4336 @lilypond[verbatim,singleline]
4337 #(define (testfunc x)
4338 (if (equal? (ly-get-mus-property x 'text) "foo")
4339 (ly-set-mus-property x 'text "bar"))
4341 (ly-set-mus-property x 'elements
4342 (map testfunc (ly-get-mus-property x 'elements)))
4347 \apply #testfunc { c4_"foo" }
4351 For more information on what is possible, see the automatically
4352 generated documentation.
4355 Directly accessing internal representations is dangerous: the
4356 implementation is subject to changes, so you should avoid this feature
4359 A final example is a function that reverses a piece of music in time:
4361 @lilypond[verbatim,singleline]
4362 #(define (reverse-music music)
4363 (let* ((elements (ly-get-mus-property music 'elements))
4364 (reversed (reverse elements))
4365 (span-dir (ly-get-mus-property music 'span-direction)))
4366 (ly-set-mus-property music 'elements reversed)
4368 (ly-set-mus-property music 'span-direction (- span-dir)))
4369 (map reverse-music reversed)
4372 music = \notes { c'4 d'4( e'4 f'4 }
4374 \score { \context Voice {
4376 \apply #reverse-music \music
4382 @c . {Span requests}
4388 @subsubsection Span requests
4389 @cindex Span requests
4391 Notational constructs that start and end on different notes can be
4392 entered using span requests. The syntax is as follows:
4396 \spanrequest @var{startstop} @var{type}
4400 @cindex @code{\start}
4401 @cindex @code{\stop}
4403 This defines a spanning request. The @var{startstop} parameter is either
4404 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4405 describes what should be started. Much of the syntactic sugar is a
4406 shorthand for @code{\spanrequest}, for example,
4408 @lilypond[fragment,verbatim,center]
4409 c'4-\spanrequest \start "slur"
4410 c'4-\spanrequest \stop "slur"
4413 Among the supported types are @code{crescendo}, @code{decrescendo},
4414 @code{beam}, @code{slur}. This is an internal command. Users are
4415 encouraged to use the shorthands which are defined in the initialization
4416 file @file{spanners.ly}.
4421 @subsection Assignments
4424 Identifiers allow objects to be assigned to names during the parse
4425 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4426 and to refer to an identifier, you preceed its name with a backslash:
4427 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4428 the input-types listed above. Identifier assignments can appear at top
4429 level in the LilyPond file, but also in @code{\paper} blocks.
4431 An identifier can be created with any string for its name, but you will
4432 only be able to refer to identifiers whose names begin with a letter,
4433 being entirely alphabetical. It is impossible to refer to an identifier
4434 whose name is the same as the name of a keyword.
4436 The right hand side of an identifier assignment is parsed completely
4437 before the assignment is done, so it is allowed to redefine an
4438 identifier in terms of its old value, e.g.
4444 When an identifier is referenced, the information it points to is
4445 copied. For this reason, an identifier reference must always be the
4446 first item in a block.
4450 \paperIdent % wrong and invalid
4454 \paperIdent % correct
4459 @c . {Lexical modes}
4461 @subsection Lexical modes
4462 @cindex Lexical modes
4465 @cindex @code{\notes}
4466 @cindex @code{\chords}
4467 @cindex @code{\lyrics}
4469 To simplify entering notes, lyrics, and chords, LilyPond has three
4470 special input modes on top of the default mode: note, lyrics and chords
4471 mode. These input modes change the way that normal, unquoted words are
4472 interpreted: for example, the word @code{cis} may be interpreted as a
4473 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4476 A mode switch is entered as a compound music expressions
4478 @code{\notes} @var{musicexpr}
4479 @code{\chords} @var{musicexpr}
4480 @code{\lyrics} @var{musicexpr}.
4483 In each of these cases, these expressions do not add anything to the
4484 meaning of their arguments. They are just a way to indicate that the
4485 arguments should be parsed in indicated mode. The modes are treated in
4486 more detail in @ref{Lyrics} and @ref{Chords}.
4488 You may nest different input modes.
4492 @subsection Ambiguities
4497 The grammar contains a number of ambiguities. We hope to resolve them at
4501 @item The assignment
4506 is interpreted as the string identifier assignment. However,
4507 it can also be interpreted as making a string identifier @code{\foo}
4508 containing @code{"bar"}, or a music identifier @code{\foo}
4509 containing the syllable `bar'.
4511 @item If you do a nested repeat like
4523 then it is ambiguous to which @code{\repeat} the
4524 @code{\alternative} belongs. This is the classic if-then-else
4525 dilemma. It may be solved by using braces.
4527 @item The parser is not sophisticated enough to distinguish at the
4529 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4536 @c . {Lexical details}
4537 @node Lexical details
4538 @section Lexical details
4540 Even more boring details, now on lexical side of the input parser.
4551 * Version information::
4556 @subsection Comments
4559 @cindex block comment
4560 @cindex line comment
4564 A one line comment is introduced by a @code{%} character.
4565 Block comments are started by @code{%@{} and ended by @code{%@}}.
4566 They cannot be nested.
4569 @subsection Direct Scheme
4573 @cindex Scheme, in-line code
4576 LilyPond contains a Scheme interpreter (the GUILE library) for
4577 internal use. In some places Scheme expressions also form valid syntax:
4578 whereever it is allowed,
4582 evaluates the specified Scheme code. If this is used at toplevel, then
4583 the result is discarded. Example:
4585 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4588 @code{\override} expects two Scheme expressions, so there are two Scheme
4589 expressions. The first one is a symbol (@code{foobar}), the second one
4590 an integer (namely, 3).
4592 Scheme is a full-blown programming language, and a full discussion is
4593 outside the scope of this document. Interested readers are referred to
4594 the website @uref{http://www.schemers.org/} for more information on
4599 @subsection Keywords
4603 Keywords start with a backslash, followed by a number of lower case
4604 alphabetic characters. These are all the keywords.
4607 apply arpeggio autochange spanrequest commandspanrequest
4608 simultaneous sequential accepts alternative bar breathe
4609 char chordmodifiers chords clef cm consists consistsend
4610 context denies duration dynamicscript elementdescriptions
4611 font grace header in lyrics key mark pitch
4612 time times midi mm name pitchnames notes outputproperty
4613 override set revert partial paper penalty property pt
4614 relative remove repeat addlyrics partcombine score
4615 script stylesheet skip textscript tempo translator
4620 @subsection Integers
4628 Formed from an optional minus sign followed by digits. Arithmetic
4629 operations cannot be done with integers, and integers cannot be mixed
4634 @cindex real numbers
4640 Formed from an optional minus sign and a sequence of digits followed
4641 by a @emph{required} decimal point and an optional exponent such as
4642 @code{-1.2e3}. Reals can be built up using the usual operations:
4643 `@code{+}', `@code{-}', `@code{*}', and
4644 `@code{/}', with parentheses for grouping.
4652 A real constant can be followed by one of the dimension keywords:
4653 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4654 points, inches and centimeters, respectively. This converts the number
4655 a number that is the internal representation of that dimension.
4663 Begins and ends with the @code{"} character. To include a @code{"}
4664 character in a string write @code{\"}. Various other backslash
4665 sequences have special interpretations as in the C language. A string
4666 that contains no spaces can be written without the quotes. See
4667 @ref{Lexical modes} for details on unquoted strings; their
4668 interpretation varies depending on the situation. Strings can be
4669 concatenated with the @code{+} operator.
4671 The tokenizer accepts the following commands. They have no grammatical
4672 function, hence they can appear anywhere in the input.
4676 @subsection Main input
4679 @cindex @code{\maininput}
4681 The @code{\maininput} command is used in init files to signal that the
4682 user file must be read. This command cannot be used in a user file.
4684 @node File inclusion
4685 @subsection File inclusion
4686 @cindex @code{\include}
4688 \include @var{filename}
4691 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4692 unquoted string will not work here!) or a string identifier. The full
4693 filename including the @file{.ly} extension must be given,
4696 @node Version information
4697 @subsection Version information
4698 @cindex @code{\version}
4700 \version @var{string}
4703 Specify the version of LilyPond that a file was written for. The
4704 argument is a version string in quotes, for example @code{"1.2.0"}.
4705 This is used to detect invalid input, and to aid
4706 @code{convert-ly} a tool that automatically upgrades input files. See
4707 See @ref{convert-ly} for more information on @code{convert-ly}.
4716 @c .{Local emacs vars}
4719 @c minor-mode: font-lock
4720 @c minor-mode: outline
4721 @c outline-layout: (-1 : 0)
4722 @c outline-use-mode-specific-leader: "@c \."
4723 @c outline-primary-bullet: "{"
4724 @c outline-stylish-prefixes: nil
4725 @c outline-override-protect: t