2 @c - Reinsert subsection commands that were lost in the
3 @c ancient conversion from YODL! /MB
4 @c - Restructure! Separate internal commands from user level commands. /MB
5 @c - Add some words about Guile. /MB
6 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
8 @node Reference Manual, , , Top
11 * Top level:: Top level
12 * notenames:: notenames
13 * Lexical conventions:: Lexical conventions
14 * Other languages:: notelang
17 * Music expressions:: Music expressions
18 * Atomic music expressions:: Atomic music expressions
19 * Note specification:: notedesc
21 * Manual beams:: Manual beam
22 * stem tremolo:: tremolo
23 * Compound music expressions:: Compound music expressions
26 * transpose:: transpose
27 * Ambiguities:: Ambiguities
28 * Notation conversion specifics:: Notation conversion specifics
30 * lyricprint:: lyricprint
31 * Notation Contexts:: Notation Contexts
32 * Properties:: Changing formatting
33 * Notation output definitions:: Notation output definitions
35 * Paper variables:: papervars
36 * contextdefs:: contextdefs
37 * engravers:: engravers
38 * Sound output:: Sound output
40 * Pre-defined Identifiers:: Pre-defined Identifiers
43 @chapter Reference Manual
47 @node Overview, , , Reference Manual
50 This document@footnote{This document has been revised for
51 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
52 a language for defining music. We call this language @emph{Music
53 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
54 comes up with a better name, we'd gladly take this. Gourlay already
55 uses a ``Musical Description Language,'' ISO standard 10743 defines a
56 ``Standard Music Description Language.'' We're not being original
59 @emph{Mudela} is a language that allows you to
62 @item create musical expressions by combining pitches, durations
63 @item output those musical expressions to various formats
64 @item give those musical expressions and output definitions names, so
65 you can enter them in manageable chunks.
68 @emph{Mudela} aims to define a piece of music completely, both from
69 typesetting and from a performance point of view.
73 @node Top level, , , Reference Manual
78 This section describes what you may enter at top level.
82 @cindex score definition
84 The output is generated combining a music expression with an output
85 definition. A score block has the following syntax:
88 \score @{ @var{musicexpr} @var{outputdefs} @}
91 @var{outputdefs} are zero or more output definitions. If no output
92 definition is supplied, the default @code{\paper} block will be added.
103 \header @{ @var{key1} = @var{val1};
104 @var{key2} = @var{val2}; @dots{} @}
107 A header describes the file's contents. It can also appear in a
108 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
109 information for generating titles. Key values that are used by
110 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
111 metre, arranger, piece and tagline.
113 It is customary to put the @code{\header} at the top of the file.
116 @node notenames, , , Reference Manual
118 Note name tables can be specified using
121 \notenames@keyindex{notenames}
122 @{ @var{assignmentlist} @}
125 @var{assignmentlist} is a list of definitions of the form
128 @var{name} = @var{pitch}
131 Chord modifiers can be set analogously, with
132 @code{\chordmodifiers}@keyindex{chordmodifiers}.
134 A @code{\paper} block at top level sets the default paper block. A
135 @code{\midi} block at top level works similarly.
139 LilyPond contains a Scheme interpreter (the GUILE library) for
140 internal use. The following commands access the interpreter
144 \scm @keyindex{scm} @var{scheme} ;
147 Evaluates the specified Scheme code. The result is discarded.
150 \scmfile@keyindex{scmfile} @var{filename};
153 Reads Scheme code from the specified file. The result is discarded.
157 Identifier assignments may appear at top level. Semicolons are
158 forbidden after top level assignments.
162 @node Lexical conventions, , , Reference Manual
163 @section Lexical conventions
165 @cindex lexical conventions
174 A one line comment is introduced by a `@code{%}' character.
175 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
176 They cannot be nested.
182 Keywords start with a backslash, followed by a number of lower case
183 alphabetic characters. These are all the keywords.
244 Formed from an optional minus sign followed by digits. Arithmetic
245 operations cannot be done with integers, and integers cannot be mixed
253 Formed from an optional minus sign and a sequence of digits followed
254 by a @emph{required} decimal point and an optional exponent such as
255 @code{-1.2e3}. Reals can be built up using the usual operations:
256 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
257 `@code{/}@indexcode{/}', with parentheses for grouping.
259 A real constant can be followed by one of the dimension
262 @code{\mm}@keyindex{mm},
263 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
264 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
265 centimeters, respectively. This converts the number to a real that
266 is the internal representation of dimensions.
273 Begins and ends with the `@code{"}' character. To include a `@code{"}'
274 character in a string write `@code{\"}'. Various other backslash
275 sequences have special interpretations as in the C language. A
276 string that contains no spaces can be written without the quotes.
277 See section XREF-modes [FIXME] for details on unquoted strings; their
278 interpretation varies depending on the situation. Strings can be
279 concatenated with the `@code{+}' operator.
282 The tokenizer accepts the following commands. They can appear
286 \maininput@keyindex{maininput}
289 This command is used in init files to signal that the user file must
290 be read. This command cannot be used in a user file.
293 \include@keyindex{include} @var{file}
296 Include @var{file}. The argument @var{file} may be a quoted string (an
297 unquoted string will not work here!) or a string identifier. The full
298 filename including the @file{.ly} extension must be given,
301 \version@keyindex{version} @var{string} ;
304 Specify the version of LilyPond that a file was written for. The
305 argument is a version string in quotes, for example @code{"1.2.0"}.
306 This is used to detect invalid input, and to aid
307 @code{convert-mudela}, a tool that automatically upgrades input files.
311 @cindex other languages
313 @node Other languages, , , Reference Manual
315 Note name definitions have been provided in various languages.
316 Simply include the language specific init file. For example:
317 `@code{\include "english.ly"}'. The available language files and the
318 names they define are:
321 Note Names sharp flat
322 nederlands.ly c d e f g a bes b -is -es
323 english.ly c d e f g a bf b -s/-sharp -f/-flat
324 deutsch.ly c d e f g a b h -is -es
325 norsk.ly c d e f g a b h -iss/-is -ess/-es
326 svenska.ly c d e f g a b h -iss -ess
327 italiano.ly do re mi fa sol la sib si -d -b
328 catalan.ly do re mi fa sol la sib si -d/-s -b
331 Pitch names can be redefined using the
332 @code{\notenames}@keyindex{notenames} command, see
333 subsection XREF-notenames [FIXME].
337 @cindex lexical modes
341 @node modes, , , Reference Manual
343 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
344 special input modes on top of the default mode. In each mode, words
345 are identified on the input. If @code{"word"} is encountered, it is
346 treated as a string. If @code{\word} is encountered, it is treated as
347 a keyword or as an identifier. The behavior of the modes differs in
348 two ways: Different modes treat unquoted words differently, and
349 different modes have different rules for deciding what is a word.
355 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
356 mode, a word is an alphabetic character followed by alphanumeric
357 characters. If @code{word} is encountered on the input it is
363 Note mode is introduced by the keyword
364 @code{\notes}@keyindex{notes}. In Note mode, words can only
365 contain alphabetic characters. If @code{word} is encountered,
366 LilyPond first checks for a notename of @code{word}. If no
367 notename is found, then @code{word} is treated as a string.
369 Since combinations of numbers and dots are used for indicating
370 durations, it is not possible to enter real numbers in this mode.
375 Chord mode is introduced by the keyword
376 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
377 words are also looked up in a chord modifier table (containing
378 @code{maj}, @code{dim}, etc).
380 Since combinations of numbers and dots are used for indicating
381 durations, you can not enter real numbers in this mode. Dashes
382 and carets are used to indicate chord additions and subtractions,
383 so scripts can not be entered in Chord mode.
388 Lyrics mode is introduced by the keyword
389 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
390 easy to include punctuation and diacritical marks in words. A
391 word in Lyrics mode begins with: an alphabetic character,
392 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
393 control characters @code{^A} through @code{^F}, @code{^Q} through
394 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
395 over 127, or a two-character combination of a backslash followed
396 by one of `@code{`}', `@code{'}', `@code{"}', or
397 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
398 enter lyrics in @TeX{} format or a standard encoding without
399 needing quotes. The precise definition of this mode indeed is
400 ludicrous. This will remain so until the authors of LilyPond
401 acquire a deeper understanding of character encoding, or someone
402 else steps up to fix this.}
404 Subsequent characters of a word can be any character that is not
405 a digit and not white space. One important consequence of this
406 is that a word can end with `@code{@}}', which may be confusing if
407 you thought the closing brace was going to terminate Lyrics
408 mode.@footnote{LilyPond will issue a warning, though.} Any
409 `@code{_}' character which appears in an unquoted word is
410 converted to a space. This provides a mechanism for introducing
411 spaces into words without using quotes. Quoted words can also be
412 used in Lyrics mode to specify words that cannot be written with
413 the above rules. Here are some examples. Not all of these words
414 are printable by @TeX{}.
418 2B_||_!2B % not a word because it starts with a digit
419 ``Hello'' % not a word because it starts with `
420 _ _ _ _ % 4 words, each one a space
423 Since combinations of numbers and dots are used for indicating
424 durations, you can not enter real numbers in this mode.
427 It is possible to create words that break the rules by prefixing them
428 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
429 word beginning with `@code{$}' extends until the next white space
430 character. Such words can contain numbers (even in Note mode), or
431 other forbidden characters. The dollar sign can be used to create
432 and access identifiers that could not otherwise be used.@footnote{Use
433 of `@code{$}' hampers readability and portability to future LilyPond
434 versions, thus the use of the dollar sign is discouraged.}
438 @node Types, , , Reference Manual
441 @cindex types and identifiers
443 @emph{Mudela} has a limited set of types:
449 @item music expressions
450 @item durations of notes and rests (specified with
451 @code{\notenames}@keyindex{notenames})
452 @item note name tables
453 @item context definitions, part of output definitions. See
454 section XREF-contextdefs [FIXME] for more information
455 @item output definitions (like @code{\paper}@keyindex{paper} blocks
456 and @code{\midi}@keyindex{midi} blocks)
457 @item score definitions (@code{\score}@keyindex{score} blocks)
460 Type is a syntactical property: @emph{Mudela} has no real type system,
461 so there is no support for generic expressions, functions, or user
462 defined types. For the same reason, it is not possible to mix reals
463 and integers in arithmetic expressions, and ``type
466 (e.g., using a string identifier to
467 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
470 Identifiers allow objects to be assigned to names. To assign an
471 identifier, you use `@var{name}=@var{value}' and to refer to an
472 identifier, you preceed its name with a backslash:
473 `@code{\}@var{name}'. Identifier assignments must appear at top level
474 in the @emph{Mudela} file. Semicolons are forbidden after assignments
475 appearing at top level but they are obligatory after assignments
476 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
478 @var{value} is any of the types listed above.
480 An identifier can be created with any string for its name, but you
481 will only be able to refer to identifiers whose names begin with a
482 letter, being entirely alphanumeric. It is impossible to refer to an
483 identifier whose name is the same as the name of a keyword.
485 The right hand side of an identifier assignment is parsed completely
486 before the assignment is done, so it is allowed to redefine an
487 identifier in terms of its old value, e.g.
493 When an identifier is referenced, the information it points to is
494 copied. Therefore it only makes sense to put identifiers for
495 translators, output definitions, and @code{\score}@keyindex{score}
496 blocks as the first item in a block. For this reason, if you
497 reference a @code{\foo} variable in a @code{\foo} block, it must be the
498 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
499 \two@}} does not make sense, because the information of @code{\two}
500 would overwrite the information of @code{\one}, thereby making the
501 reference to the first identifier useless.}
505 @node Music expressions, , , Reference Manual
506 @section Music expressions
508 @cindex music expressions
510 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
511 lyric syllables are music expressions (the atomic
513 @cindex atomic music expressions
514 , and you can combine
515 music expressions to form new ones. This example forms a compound
516 expressions out of the quarter @code{c} note and a @code{d}
520 \sequential @{ c4 d4 @}
523 The meaning of this compound expression is to play the `@code{c}'
524 first, and then the `@code{d}' (as opposed to playing them
525 simultaneously, for instance).
527 Atomic music expression are discussed in
528 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
529 discussed in subsection XREF-compoundmusic [FIXME].
533 @node Atomic music expressions, , , Reference Manual
534 @section Atomic music expressions
544 The syntax for pitch specification is
548 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
551 @var{octave} is specified by an integer, zero for the octave
552 containing middle C. @var{note} is a number from 0 to 7, with 0
553 corresponding to C and 7 corresponding to B. The shift is zero for a
554 natural, negative to add flats, or positive to add sharps.
556 In Note and Chord mode, pitches may be designated by names. See
557 section XREF-notelang [FIXME] for pitch names in different languages.
559 The syntax for duration specification is
562 \duration@keyindex{duration}
563 @{ @var{length} @var{dotcount} @}
566 @var{length} is the negative logarithm (base 2) of the duration:
567 1 is a half note, 2 is a quarter note, 3 is an eighth
568 note, etc. The number of dots after the note is given by
571 In Note, Chord, and Lyrics mode, durations may be designated by
572 numbers and dots. See Section XREF-notelang [FIXME] for details.
575 @node Note specification, , , Reference Manual
577 @cindex note specification
581 @cindex entering notes
583 A note specification has the form
586 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
589 The pitch of the note is specified by the note's name.
592 The default names are the Dutch note names. The notes are specified
593 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
594 octave below middle C and the letters span the octave above that C.
595 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
596 `@code{-is}' to the end of a pitch name. A flat is formed by adding
597 `@code{-es}'. Double sharps and double flats are obtained by adding
598 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
599 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
602 LilyPond has predefined sets of notenames for various languages. See
603 section XREF-notelang [FIXME] for details.
606 The optional octave specification takes the form of a series of
607 single quote (`@code{'}@indexcode{'}') characters or a series of comma
608 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
609 octave; each @code{,} lowers the pitch by an octave.
611 @mudela[fragment,verbatim,center]
612 c' d' e' f' g' a' b' c''
615 @mudela[fragment,verbatim,center]
616 cis' dis' eis' fis' gis' ais' bis'
619 @mudela[fragment,verbatim,center]
620 ces' des' es' fes' ges' as' bes'
623 @mudela[fragment,verbatim,center]
624 cisis' eisis' gisis' aisis' beses'
627 @mudela[fragment,verbatim,center]
628 ceses' eses' geses' ases' beses'
631 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
632 will determine what accidentals to typeset depending on the key and
633 context. A reminder accidental
634 @cindex reminder accidental
636 forced by adding an exclamation mark `@code{!}' after the pitch. A
637 cautionary accidental,
638 @cindex cautionary accidental
640 accidental within parentheses can be obtained by adding the question
641 mark `@code{?}@indexcode{?}' after the pitch.
643 @mudela[fragment,verbatim,center]
644 cis' d' e' cis' c'? d' e' c'!
650 Durations are entered as their reciprocal values. For notes longer
651 than a whole note, use identifiers.
657 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
666 \notes \relative c'' {
668 a1 a2 a4 a8 a16 a32 a64 a64
673 \remove "Clef_engraver";
674 \remove "Staff_symbol_engraver";
685 r1 r2 r4 r8 r16 r32 r64 r64
694 \notes \relative c'' {
696 r1 r2 r4 r8 r16 r32 r64 r64
699 loose_column_distance = 2.5 * \interline;
703 \remove "Clef_engraver";
704 \remove "Staff_symbol_engraver";
705 \remove "Bar_engraver";
712 If the duration is omitted then it is set equal to the previous
713 duration. If there is no previous duration, a quarter note is
714 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
715 to obtain dotted note lengths.
717 @mudela[fragment,verbatim,center]
721 You can alter the length of duration by writing
722 `@code{*}@var{fraction}' after it. This will not affect the
723 appearance of note heads or rests.
726 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
727 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
728 which produces a space of the specified duration.
729 `@code{R}' is specifically meant for entering parts: the @code{R} rest
730 can expand to fill a score with rests, or it can be printed as a
731 single multimeasure rest.
734 @cindex lyrics expressions
736 Syllables are entered like notes, with pitches replaced by text. For
737 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
738 with quarter note duration. Note that the hyphen has no special
739 meaning for lyrics, and does not introduce special symbols. See
740 section XREF-modes [FIXME] for a description of what is interpreted as
743 Spaces can be introduced into a lyric either by using quotes
744 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
745 not4}'. All unquoted underscores are converted to spaces. Printing
746 lyrics is discussed in section XREF-lyricprint [FIXME].
753 \property@keyindex{property}
754 @var{contextname}.@var{propname} = @var{value}
757 Sets the @var{propname} property of the context @var{contextname} to
758 the specified @var{value}. All three arguments are strings.
759 Depending on the context, it may be necessary to quote the strings or
760 to leave space on both sides of the dot.
764 @cindex translator switches
767 \translator@keyindex{translator}
768 @var{contexttype} = @var{name}
771 A music expression indicating that the context which is a direct
772 child of the a context of type @var{contexttype} should be shifted to
773 a context of type @var{contexttype} and the specified name.
775 Usually this is used to switch staffs in Piano music, e.g.
778 \translator Staff = top @var{Music}
782 @cindex output properties
785 These allow you to tweak what is happening in the back-end
786 directly. If you want to control every detail of the output
787 formatting, this is the feature to use. The downside to this is that
788 you need to know exactly how the backend works. Example:
791 @mudela[fragment,verbatim]
793 \context Staff \outputproperty
794 #(make-type-checker 'Note_head)
795 #'extra-offset = #'(5.0 . 7.5)
799 This selects all note heads occurring at current staff level, and sets
800 the extra-offset of those heads to (5,7.5), shifting them up and
803 Use of this feature is entirely on your own risk: if you use this, the
804 result will depend very heavily on the implentation of the backend,
805 which we change unscrupulously.
812 Commands are music expressions that have no duration.
817 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
820 Change the key signature. @var{type} should be
821 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
822 @var{pitch}-major or @var{pitch}-minor, respectively. The second
823 argument is optional; the default is major keys. The @var{\context}
824 argument can also be given as an integer, which tells the number of
825 semitones that should be added to the pitch given in the subsequent
826 @code{\key}@keyindex{key} commands to get the corresponding major key,
827 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
828 mode names @code{\ionian}@keyindex{ionian},
829 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
830 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
831 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
836 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
839 Specify an arbitrary key signature. The pitches from @var{pitch} will
840 be printed in the key signature in the order that they appear on the
845 \mark@keyindex{mark} @var{unsigned};
849 Prints a mark over or under (depending on the
850 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
851 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
854 @node barlines, , , Reference Manual
857 \bar@keyindex{bar} @var{bartype};
860 This is a request to print a special bar symbol. It replaces the
861 regular bar symbol with a special
862 symbol. The argument @var{bartype} is a string which specifies the
863 kind of bar to print. Options are @code{":|"}
864 @cindex "|A@@@code{:|}
867 @cindex "|B@@@code{|:}
869 @cindex "|C@@@code{:|:}
872 @cindex "|D@@@code{||}
874 @cindex "|E@@@code{|.}
877 @cindex "|F@@@code{.|}
879 @cindex "|G@@@code{.|.}
881 These produce, respectively, a right repeat, a left repeat, a double
882 repeat, a double bar, a start bar, an end bar, and a thick double
883 bar. If @var{bartype} is set to @code{"empty"} then nothing is
884 printed, but a line break is allowed at that spot.
886 You are encouraged to use @code{\repeat} for repetitions.
887 See section XREF-sec-repeats [FIXME].
894 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
897 Change the time signature. The default time signature is 4/4.
898 The time signature is used to generate bar lines.
902 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
905 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
906 requests output with 76 quarter notes per minute.
910 \partial@keyindex{partial} @var{duration} @code{;}
917 This creates an incomplete measure (anacrusis, upbeat) at the start of
918 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
919 lasting two eighth notes.
923 @code{|}@indexcode{|}
928 @cindex shorten measures
932 `@code{|}' is a bar check. Whenever a bar check is encountered during
933 interpretation, a warning message is issued if it doesn't fall at a
934 measure boundary. This can help you finding errors in the input.
935 The beginning of the measure will be relocated, so this can also
936 be used to shorten measures.
941 \penalty@keyindex{penalty} @var{int} @code{;}
944 Discourage or encourage line breaks. See identifiers
945 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
946 section [on identifiers] [FIXME].
950 \clef@keyindex{clef} @var{clefname} @code{;}
953 Music expression that sets the current clef. The argument is a
954 string which specifies the name of the clef. Several clef names are
955 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
956 name, then the clef lowered or raised an octave will be generated.
957 Here are the supported clef names with middle C shown in each
966 %\property Voice.textStyle = typewriter
967 \clef subbass; c'4-"\kern -5mm subbass"
968 \clef bass; c'4^"\kern -2mm bass"
969 \clef baritone; c'4_"\kern -5mm baritone"
970 \clef varbaritone; c'4^"\kern -6mm varbaritone"
971 \clef tenor; c'4_"\kern -3mm tenor"
972 \clef "G_8"; c'4^"\kern -2mm G\\_8"
987 \clef alto; c'4_"\kern -2mm alto"
988 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
989 \clef soprano; c'4_"\kern -6mm soprano"
990 \clef treble; c'4^"\kern -4mm treble"
991 \clef french; c'4_"\kern -4mm french"
1000 The three clef symbols can also be obtained using the names `@code{G}',
1001 `@code{C}' or `@code{F}', optionally followed by an integer which
1002 indicates at which note line the clef is located. An as example, the
1003 @code{mezzosoprano} clef can also be given as `@code{C2}'.
1007 \skip@keyindex{skip} @var{duration} @code{;}
1010 Skips the amount of time specified by @var{duration}. If no other
1011 music is played, a gap will be left for the skipped time with no
1012 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1013 this has the same effect as the space rest `@code{s}'.
1018 @node Manual beams, , , Reference Manual
1020 A beam is specified by surrounding the beamed notes with brackets
1021 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1023 @mudela[fragment,verbatim,center]
1024 [a'8 a'] [a'16 a' a' a']
1027 Some more elaborate constructions:
1029 @mudela[fragment,verbatim,center]
1030 [a'16 <a' c''> c'' <a' c''>]
1031 \times 2/3 { [e'8 f' g'] }
1034 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1038 To place tremolo marks
1039 @cindex tremolo beams
1040 between two notes, begin
1041 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1042 will appear instead of beams. Putting more than two notes in such a
1043 construction will produce odd effects. To create tremolo beams on a
1044 single note, simply attach `@code{:}@var{length}' to the note itself
1045 (see also section XREF-tremolo [FIXME]).
1048 @mu dela[fragment,verbatim,center]
1049 [:16 e'1 g'] [:8 e'4 f']
1052 @mud ela[fragment,verbatim,center]
1053 c'4:32 [:16 c'8 d'8]
1057 @cindex --@@@code{-}@code{-}
1065 The syntax for an extender mark is `@code{__}'. This syntax can only
1066 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1067 a hyphen that will be printed between two lyric syllables) is
1073 A tie connects two adjacent note heads of the same pitch. When used
1074 with chords, it connects all of the note heads whose pitches match.
1075 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1076 If you try to tie together chords which have no common pitches, a
1077 warning message will appear and no ties will be created.
1079 @mudela[fragment,verbatim,center]
1080 e' ~ e' <c' e' g'> ~ <c' e' g'>
1085 [TODO: explain Requests]
1088 @cindex articulations
1094 A variety of symbols can appear above and below notes to indicate
1095 different characteristics of the performance. These symbols can be
1096 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1097 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1098 forced to appear above or below the note by writing
1099 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1100 respectively. Here is a chart showing symbols above notes, with the
1101 name of the corresponding symbol appearing underneath.
1107 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1108 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1109 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1110 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1111 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1112 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1113 c''-\thumb c''-\segno c''-\coda
1115 \context Lyrics \lyrics {
1116 accent__ marcato__ staccatissimo__ fermata
1117 stopped__ staccato__ tenuto__ upbow
1118 downbow__ lheel__ rheel__ ltoe
1119 rtoe__ turn__ open__ flageolet
1120 reverseturn__ trill__ prall__ mordent
1121 prallprall__ prallmordent__ uprall__ downprall
1122 thumb__ segno__ coda
1126 linewidth = 5.875\in;
1133 In addition, it is possible to place arbitrary strings of text or
1134 @TeX{} above or below notes by using a string instead of an
1135 identifier: `@code{c^"text"}'. Fingerings
1138 placed by simply using digits. All of these note ornaments appear in
1139 the printed output but have no effect on the MIDI rendering of the
1142 To save typing, fingering instructions (digits 0 to 9 are
1143 supported) and single characters shorthands exist for a few
1150 \property Voice.textStyle = typewriter
1156 c''4-^_"c-\\^{ }" s4
1163 linewidth = 5.875 \in;
1170 Dynamic marks are specified by using an identifier after a note:
1171 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1172 The available dynamic marks are:
1173 @code{\ppp}@keyindex{ppp},
1174 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1175 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1176 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1177 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1178 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1179 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1180 @code{\rfz}@keyindex{rfz}.
1185 \textscript@keyindex{textscript} @var{text} @var{style}
1188 Defines a text to be printed over or under a note. @var{style} is a
1189 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1190 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1192 You can attach a general textscript request using this syntax:
1197 c4-\textscript "6" "finger"
1198 c4-\textscript "foo" "normal"
1203 This is equivalent to `@code{c4-6 c4-"foo"}'.
1210 \script@keyindex{script} @var{alias}
1213 Prints a symbol above or below a note. The argument is a string
1214 which points into the script-alias table defined in @file{script.scm}.
1215 The scheme definitions specify whether the symbol follows notes into
1216 the staff, dependence of symbol placement on staff direction, and a
1217 priority for placing several symbols over one note. Usually the
1218 @code{\script}@keyindex{script} keyword is not used directly. Various
1219 helpful identifier definitions appear in @file{script.ly}.
1224 Slurs connects chords and try to avoid crossing stems. A slur is
1225 started with `@code{(}' and stopped with `@code{)}'. The
1226 starting `@code{(}' appears to the right of the first note in
1227 the slur. The terminal `@code{)}' appears to the left of the
1228 first note in the slur. This makes it possible to put a note in
1229 slurs from both sides:
1231 @mudela[fragment,verbatim,center]
1232 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1238 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1239 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1240 @code{\decr}@keyindex{decr} and terminated with
1241 @code{\rced}@keyindex{rced}. There are also shorthands for these
1242 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1243 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1244 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1245 must go before the last note of the dynamic mark whereas @code{\rc}
1246 and @code{\rced} go after the last note. Because these marks are
1247 bound to notes, if you want to get several marks during one note, you
1248 must use spacer notes.
1250 @mudela[fragment,verbatim,center]
1251 c'' \< \! c'' d'' \decr e'' \rced
1252 < f''1 { s4 \< \! s2 \> \! s4 } >
1258 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1261 Define a spanning request. The @var{startstop} parameter is either -1
1262 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1263 @var{type} is a string that describes what should be started.
1264 Supported types are @code{crescendo}, @code{decrescendo},
1265 @code{beam}, @code{slur}. This is an internal command. Users should
1266 use the shorthands which are defined in the initialization file
1269 You can attach a (general) span request to a note using
1271 @mudela[fragment,verbatim,center]
1272 c'4-\spanrequest \start "slur"
1273 c'4-\spanrequest \stop "slur"
1276 The slur syntax with parentheses is a shorthand for this.
1280 @cindex tremolo marks
1282 @node stem tremolo, , , Reference Manual
1284 Tremolo marks can be printed on a single note by adding
1285 `@code{:}[@var{length}]' after the note. The length must be at
1286 least 8. A @var{length} value of 8 gives one line across
1287 the note stem. If the length is omitted, then the last value is
1288 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1291 @mudela[verbatim,fragment,center]
1297 @node Compound music expressions, , , Reference Manual
1298 @section Compound music expressions
1300 @cindex compound music expressions
1302 Music expressions are compound data structures. You can nest music
1303 expressions any way you like. This simple example shows how three
1304 chords can be expressed in two different ways:
1306 @mudela[fragment,verbatim,center]
1307 \notes \context Staff {
1309 <a c'> <b d' > <c' e'>
1310 < { a b c' } { c' d' e' } >
1314 @cindex context selection
1315 @c @keyindex{context}
1318 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1321 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1322 If the context does not exist, it will be created. The new context
1323 can optionally be given a name. See
1324 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1325 information on interpretation contexts.
1333 Mode switching keywords form compound music expressions: @code{\notes}
1334 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1335 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1336 These expressions do not add anything to the meaning of their
1337 arguments. They are just a way to indicate that the arguments should
1338 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1339 information on modes.
1341 More information on context selection can be found in
1342 section XREF-contextselection [FIXME].
1346 @cindex sequential music
1352 \sequential@keyindex{sequential}
1353 @code{@{} @var{musicexprlist} @code{@}}
1356 This means that list should be played or written in sequence, i.e.,
1357 the second after the first, the third after the second. The duration
1358 of sequential music is the the sum of the durations of the elements.
1359 There is a shorthand, which leaves out the keyword:
1363 @code{@{} @var{musicexprlist} @code{@}}
1368 @cindex simultaneous music
1375 \simultaneous@keyindex{simultaneous}
1376 @code{@{} @var{musicexprlist} @code{@}}
1379 It constructs a music expression where all of its arguments start at
1380 the same moment. The duration is the maximum of the durations of the
1381 elements. The following shorthand is a common idiom:
1385 @code{<} @var{musicexprlist} @code{>}
1388 If you try to use a chord as the first thing in your score, you might
1389 get multiple staffs instead of a chord.
1391 @mudela[verbatim,center]
1400 This happens because the chord is interpreted by a score context.
1401 Each time a note is encountered a default Voice context (along with a
1402 Staff context) is created. The solution is to explicitly instantiate
1405 @mudela[verbatim,center]
1407 \notes\context Voice <c''4 e''>
1416 @cindex relative pitch specification
1418 @node relative, , , Reference Manual
1420 It is easy to get confused by octave changing marks and accidentally
1421 putting a pitch in the wrong octave. A much better way of entering a
1422 note's octave is `the relative octave' mode.
1426 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1429 The octave of notes that appear in @var{musicexpr} are calculated as
1430 follows: If no octave changing marks are used, the basic interval
1431 between this and the last note is always taken to be a fourth or
1432 less.@footnote{The interval is determined without regarding
1433 accidentals. A @code{fisis} following a @code{ceses} will be put above
1434 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1435 can then be added to raise or lower the pitch by an extra octave.
1436 Upon entering relative mode, an absolute starting pitch must be
1437 specified that will act as the predecessor of the first note of
1440 Entering scales is straightforward in relative mode.
1442 @mudela[fragment,verbatim,center]
1448 And octave changing marks are used for intervals greater than a fourth.
1450 @mudela[fragment,verbatim,center]
1452 c g c f, c' a, e'' }
1455 If the preceding item is a chord, the first note of the chord is used
1456 to determine the first note of the next chord. But other notes
1457 within the second chord are determined by looking at the immediately
1460 @mudela[fragment,verbatim,center]
1468 The pitch after the @code{\relative} contains a notename. To parse
1469 the pitch as a notename, you have to be in note mode, so there must
1470 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1473 The relative conversion will not affect @code{\transpose} or
1474 @code{\relative} sections in its argument. If you want to use
1475 relative within transposed music, you must place an additional
1476 @code{\relative} inside the @code{\transpose}.
1478 It is strongly recommended to use relative pitch mode: less work,
1479 less error-prone, and more readable.
1483 Chord names are a way to generate simultaneous music expressions that
1484 correspond with traditional chord names. It can only be used in
1485 Chord mode (see section XREF-modes [FIXME]).
1489 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1492 @var{tonic} should be the tonic note of the chord, and @var{duration}
1493 is the chord duration in the usual notation. There are two kinds of
1494 modifiers. One type is @emph{chord additions}, which are obtained by
1495 listing intervals separated by dots. An interval is written by its
1496 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1497 lowering by half a step. Chord additions has two effects: It adds
1498 the specified interval and all lower odd numbered intervals to the
1499 chord, and it may lower or raise the specified interval. Intervals
1500 must be separated by a dot (`@code{.}').
1504 @mudela[fragment,verbatim]
1508 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1515 The second type of modifier that may appear after the `@code{:}' is a
1516 named modifier. Named modifiers are listed in the file
1517 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1518 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1519 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1520 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1521 which replaces the 5th with a 4th.
1525 @mudela[fragment,verbatim]
1528 c1:m c:min7 c:maj c:aug c:dim c:sus
1536 Chord subtractions are used to eliminate notes from a chord. The
1537 notes to be subtracted are listed after a `@code{^}' character,
1540 @mudela[fragment,verbatim,center]
1548 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1549 the name of a single note to a chord. This has the effect of
1550 lowering the specified note by an octave so it becomes the lowest
1551 note in the chord. If the specified note is not in the chord, a
1552 warning will be printed.
1554 @mudela[fragment,verbatim,center]
1563 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1564 the name of a single note to a chord. This has the effect of
1565 adding the specified note to the chord, lowered by an octave,
1566 so it becomes the lowest note in the chord.
1568 @mudela[fragment,verbatim,center]
1577 Throughout these examples, chords have been shifted around the staff
1578 using @code{\transpose}.
1580 You should not combine @code{\relative} with named chords.
1586 Tuplets are made out of a music expression by multiplying their
1587 duration with a fraction.
1591 \times@keyindex{times} @var{fraction} @var{musicexpr}
1594 The duration of @var{musicexpr} will be multiplied by the fraction.
1595 In print, the fraction's denominator will be printed over the notes,
1596 optionally with a bracket. The most common tuplet is the triplet in
1597 which 3 notes have the length of 2, so the notes are 2/3 of
1598 their written length:
1600 @mudela[fragment,verbatim,center]
1601 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1610 \grace@keyindex{grace} @var{musicexpr}
1613 A grace note expression has duration 0; the next real note is
1614 assumed to be the main note.
1616 You cannot have the grace note after the main note, in terms of
1617 duration, and main notes, but you can typeset the grace notes to the
1618 right of the main note using the property
1619 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1621 When grace music is interpreted, a score-within-a-score is set up:
1622 @var{musicexpr} has its own time bookkeeping, and you could (for
1623 example) have a separate time signature within grace notes. While in
1624 this score-within-a-score, you can create notes, beams, slurs, etc.
1625 Unbeamed eighth notes and shorter by default have a slash through the
1626 stem. This behavior can be controlled with the
1627 @code{stemStyle}@indexcode{stemStyle} property.
1631 @mudela[fragment,verbatim]
1633 \grace c8 c4 \grace { [c16 c16] } c4
1634 \grace { \property Grace.stemStyle = "" c16 } c4
1640 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1644 @code{\grace @{ \grace c32 c16 @} c4}
1647 may result in run-time errors of LilyPond. Since the meaning of such
1648 a construct is unclear, we don't consider this a loss. Similarly,
1649 juxtaposing two @code{\grace} sections is syntactically valid, but
1650 makes no sense and may cause runtime errors.
1652 Ending a staff or score with grace notes may also generate a run-time
1653 error, since there will be no main note to attach the grace notes to.
1659 @node Repeats, , , Reference Manual
1661 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1662 keyword. Since repeats look and sound differently when played or
1663 printed, there are a few different variants of repeats.
1667 Repeated music is fully written (played) out. Useful for MIDI
1671 This is the normal notation: Repeats are not written out, but
1672 alternative endings (voltas) are printed, left to right.
1675 Alternative endings are written stacked, which is useful for
1679 The syntax for repeats is
1683 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1686 If you have alternative endings, you may add
1690 \alternative@keyindex{alternative}
1691 @code{@{} @var{alternative1}
1693 @var{alternative3} @dots{} @code{@}}
1696 where each @var{alternative} is a Music expression.
1698 Normal notation repeats are used like this:
1702 @mudela[fragment,verbatim]
1704 \repeat volta 2 { c'4 d' e' f' }
1705 \repeat volta 2 { f' e' d' c' }
1710 With alternative endings:
1714 @mudela[fragment,verbatim]
1716 \repeat volta 2 {c'4 d' e' f'}
1717 \alternative { {d'2 d'} {f' f} }
1722 Folded repeats look like this:@footnote{Folded repeats offer little
1723 more over simultaneous music. However, it is to be expected that
1724 more functionality -- especially for the MIDI backend -- will be
1729 @mudela[fragment,verbatim]
1731 \repeat fold 2 {c'4 d' e' f'}
1732 \alternative { {d'2 d'} {f' f} }
1739 @mudela[fragment,verbatim]
1743 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1744 \alternative { { g4 g g } { a | a a a a | b1 } }
1751 If you don't give enough alternatives for all of the repeats, then
1752 the first alternative is assumed to be repeated often enough to equal
1753 the specified number of repeats.
1757 @mudela[fragment,verbatim]
1760 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1761 \alternative { { g4 g g }
1762 {\partial 1; e4 e e }
1763 {\partial 1; a a a a | b1 } }
1770 It is possible to nest @code{\repeat}. This is not entirely
1771 supported: the notes will come be in the right places, but the repeat
1776 @cindex transposition of pitches
1778 @node transpose, , , Reference Manual
1780 A music expression can be transposed with
1781 @code{\transpose}@keyindex{transpose}. The syntax is
1785 \transpose @var{pitch} @var{musicexpr}
1788 This means that middle C in @var{musicexpr} is transposed to
1791 @code{\transpose} distinguishes between enharmonic pitches: both
1792 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1793 a tone. The first version will print sharps and the second version
1798 @mudela[fragment,verbatim]
1801 { \key e \major; c d e f }
1803 \transpose des'' { \key e \major; c d e f }
1804 \transpose cis'' { \key e \major; c d e f }
1810 If you want to use both @code{\transpose} and @code{\relative}, then
1811 you must use @code{\transpose} first. @code{\relative} will have no
1812 effect music that appears inside a @code{\transpose}.
1816 @cindex automatic lyric durations
1818 If you have lyrics that are set to a melody, you can import the
1819 rhythm of that melody into the lyrics using @code{\addlyrics}.
1820 @keyindex{addlyrics} The syntax for this is
1824 \addlyrics @var{musicexpr1 musicexpr2}
1827 This means that both @var{musicexpr1} and @var{musicexpr2} are
1828 interpreted, but that every non-command atomic music expression
1829 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1830 of @var{musicexpr1}.
1832 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1833 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1838 @mudela[verbatim,fragment]
1841 \property Voice.automaticMelismata = ##t
1842 c8 () cis d8. e16 f2
1844 \context Lyrics \lyrics {
1850 You should use a single rhythm melody, and single rhythm lyrics (a
1851 constant duration is the obvious choice). If you do not, you will get
1852 undesired effects when using multiple stanzas:
1856 @mudela[verbatim,fragment]
1859 c8 () cis d8. e16 f2
1861 \context Lyrics \lyrics
1868 It is valid (but probably not very useful) to use notes instead of
1869 lyrics for @var{musicexpr2}.
1874 @node Ambiguities, , , Reference Manual
1875 @section Ambiguities
1879 The grammar contains a number of ambiguities.@footnote{The authors
1880 hope to resolve them at a later time.}
1883 @item The assignment
1889 can be interpreted as making a string identifier @code{\foo}
1890 containing @code{"bar"}, or a music identifier @code{\foo}
1891 containing the syllable `bar'.
1893 @item The assignment
1899 can be interpreted as making an integer identifier
1900 containing -6, or a Request identifier containing the
1901 fingering `6' (with neutral direction).
1903 @item If you do a nested repeat like
1915 then it is ambiguous to which @code{\repeat} the
1916 @code{\alternative} belongs. This is the classic if-then-else
1917 dilemma. It may be solved by using braces.
1919 @item (an as yet unidentified ambiguity :-)
1924 @node Notation conversion specifics, , , Reference Manual
1925 @section Notation conversion specifics
1929 @cindex automatic beam generation
1931 @node autobeam, , , Reference Manual
1933 By default, LilyPond will generate beams automatically. This feature
1934 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1935 property to 1. It can be overridden for specific cases by
1936 specifying explicit beams as described in
1937 section XREF-manualbeam [FIXME].
1939 A large number of Voice properties are used to decide how to generate
1940 beams. Their default values appear in @file{auto-beam-settings.ly}.
1941 In general, beams can begin anywhere, but their ending location is
1942 significant. Beams can end on a beat, or at durations specified by
1943 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1944 quarter note, for example, you could set
1945 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1946 at every three eighth notes you would set it to `@code{"3/8"}'. The
1947 same syntax can be used to specify beam starting points using
1948 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1950 To allow different settings for different time signatures, these
1951 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1952 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1953 to specify beams ending only for 6/8 time you would use the
1954 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1955 for notes of different durations, the duration can be tacked onto the
1956 end of the property. To specify beam endings for beams that contain
1957 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1965 @cindex printing!chord names
1967 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1968 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1969 either using the notation described above, or directly using
1974 @mudela[fragment,verbatim]
1976 \context ChordNames {
1977 \chords{a b c} \notes{<d f g> <e g b>}
1979 \context Staff \notes {
1987 LilyPond examines chords specified as lists of notes to determine a
1988 name to give the chord. By default, LilyPond will not try to
1989 identify chord inversions:
1991 @mudela[fragment,verbatim,center]
1993 \context ChordNameVoice \notes {
1996 \context Thread \notes {
2002 If you want inversions to be recognized, you must set the property
2003 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
2005 @mudela[fragment,verbatim,center]
2007 \property Score.chordInversion = ##t
2008 \context ChordNameVoice \notes {
2011 \context Thread \notes {
2021 @cindex printing!lyrics
2023 @node lyricprint, , , Reference Manual
2025 Lyric syllables must be interpreted within a @code{Lyrics} context
2027 @cindex context!Lyrics
2030 Here is a full example:
2037 \notes \transpose c'' {
2039 e f g2 | e4 f g2 \bar "|.";
2041 \context Lyrics \lyrics {
2042 Va-4 der Ja- cob Va- der Ja- cob
2043 Slaapt gij nog?2 Slaapt4 gij nog?2
2051 You may want a continuous line after the syllables to show melismata.
2052 To achieve this effect, add a `@code{__}' lyric as a separate word
2053 after the lyric to be extended. This will create an extender, a line
2054 that extends over the entire duration of the lyric. This line will
2055 run all the way to the start of the next lyric, so you may want to
2056 shorten it by using a blank lyric (using `@code{_}').
2063 \notes \relative c'' {
2064 a4 () b () c () d | c () d () b () a | c () d () b () a
2066 \context Lyrics \lyrics {
2067 foo1 __ | bar2. __ _4 | baz1 __
2076 If you want to have hyphens centered between syllables (rather than
2077 attached to the end of the first syllable) you can use the special
2078 `@code{-}@code{-}' lyric as a separate word between syllables. This
2079 will result in a hyphen which length varies depending on the space
2080 between syllables, and which will be centered between the syllables.
2088 \notes \transpose c'' {
2090 e f g2 | e4 f g2 \bar "|.";
2092 \context Lyrics \lyrics {
2093 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2094 Slaapt gij nog?2 | Slaapt4 gij nog?2
2104 @node Notation Contexts, , , Reference Manual
2105 @section Notation Contexts
2107 @cindex notation contexts
2109 Notation contexts are objects that only exist during a run of
2110 LilyPond. During the interpretation phase of LilyPond, the Music
2111 expression contained in a @code{\score} block is interpreted in time
2112 order. This is the order in which humans read, play, and write
2115 A context is an object that holds the reading state of the
2116 expression; it contains information like
2119 @item What notes are playing at this point?
2120 @item What symbols will be printed at this point?
2121 @item In what style will they printed?
2122 @item What is the current key signature, time signature, point within
2126 Contexts are grouped hierarchically: A @code{Voice} context is
2127 contained in a @code{Staff} context (because a staff can contain
2128 multiple voices at any point), a @code{Staff} context is contained in
2129 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2130 these can all contain multiple staffs).
2132 Contexts associated with sheet music output are called @emph{notation
2133 contexts}, those for sound output are called playing contexts.
2135 Contexts are created either manually or automatically. Initially,
2136 the top level music expression is interpreted by the top level
2137 context (the @code{Score} context). When a atomic music expression
2138 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2139 set of contexts is created that can process these atomic expressions,
2145 \score @{ \notes < c4 > @}
2150 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2151 context. When the note `@code{c4}' itself is interpreted, a set of
2152 contexts is needed that will accept notes. The default for this is a
2153 @code{Voice} context, contained in a @code{Staff} context. Creation of
2154 these contexts results in the staff being printed.
2159 You can also create contexts manually, and you probably have to do so
2160 if you want to typeset complicated multiple part material. If a
2161 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2162 during the interpretation phase, the @var{musicexpr} argument will be
2163 interpreted with a context of type @var{name}. If you specify a name,
2164 the specific context with that name is searched.
2166 If a context of the specified type and name can not be found, a new
2167 one is created. For example,
2173 \notes \relative c'' {
2174 c4 <d4 \context Staff = "another" e4> f
2181 In this example, the @code{c} and @code{d} are printed on the
2182 default staff. For the @code{e}, a context Staff called
2183 `@code{another}' is specified; since that does not exist, a new
2184 context is created. Within @code{another}, a (default) Voice context
2185 is created for the @code{e4}. When all music referring to a
2186 context is finished, the context is ended as well. So after the
2187 third quarter, @code{another} is removed.
2189 Almost all music expressions inherit their interpretation context
2190 from their parent. In other words, suppose that the syntax for a
2195 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2198 When the interpretation of this music expression starts, the context
2199 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2202 Lastly, you may wonder, why this:
2208 \notes \relative c'' @{
2216 doesn't result in this:
2221 \notes \relative c'' {
2228 For the @code{c4}, a default @code{Staff} (with a contained
2229 @code{Voice}) context is created. After the @code{c4} ends, no
2230 music refers to this default staff, so it would be ended, with the
2231 result shown. To prevent this inconvenient behavior, the context to
2232 which the sequential music refers is adjusted during the
2233 interpretation. So after the @code{c4} ends, the context of the
2234 sequential music is also the default @code{Voice} context.
2235 The @code{d4} gets interpreted in the same context
2240 These are the contexts supplied with the package. They are defined
2241 in the initialization file @file{ly/engraver.ly}.
2244 @item @code{Grace}@indexcode{Grace}
2245 The context for handling grace notes. It is instantiated
2246 automatically when you use @code{\grace}. Basically, it is an
2247 `embedded' miniature of the Score context. Since this context
2248 needs special interaction with the rest of LilyPond, you should
2249 not explicitly instantiate it.
2251 @item @code{LyricVoice}@indexcode{LyricVoice}
2252 Corresponds to a voice with lyrics. Handles the printing of a
2253 single line of lyrics.
2255 @item @code{Thread}@indexcode{Thread}
2256 Handles note heads, and is contained in the Voice context. You
2257 have to instantiate this explicitly if you want to adjust the
2258 style of individual note heads.
2260 @item @code{Voice}@indexcode{Voice}
2261 Corresponds to a voice on a staff. This context handles the
2262 conversion of dynamic signs, stems, beams, super- and subscripts,
2263 slurs, ties, and rests.
2265 You have to instantiate this explicitly if you want to have
2266 multiple voices on the same staff.
2268 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2269 A voice with chord names. Handles printing of a line of chord
2272 @item @code{ChordNames}@indexcode{ChordNames}
2273 Typesets chord names. Can contain @code{ChordNamesVoice}
2276 @item @code{Lyrics}@indexcode{Lyrics}
2277 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2279 @item @code{Staff}@indexcode{Staff}
2280 Handles clefs, bar lines, keys, accidentals. It can contain
2281 @code{Voice} contexts.
2283 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2284 A context like @code{Staff} but for printing rhythms. Pitches are
2285 ignored; the notes are printed on one line. It can contain
2286 @code{Voice} contexts.
2288 @item @code{GrandStaff}@indexcode{GrandStaff}
2289 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2290 brace on the left side, grouping the staffs together. The bar
2291 lines of the contained staffs are connected vertically. It can
2292 contain @code{Staff} contexts.
2294 @item @code{PianoStaff}@indexcode{PianoStaff}
2295 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2296 equal to @code{maxVerticalAlign} so that interstaff beaming and
2297 slurring can be used.
2299 @item @code{StaffGroup}@indexcode{StaffGroup}
2300 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2301 bracket on the left side, grouping the staffs together. The bar
2302 lines of the contained staffs are connected vertically. It can
2303 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2304 @code{Lyrics} contexts.
2306 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2307 Identical to @code{StaffGroup} except that the contained staffs
2308 are not connected vertically.
2310 @item @code{Score}@indexcode{Score}
2311 This is the top level notation context. No other context can
2312 contain a @code{Score} context. This context handles the
2313 administration of time signatures. It also makes sure that items
2314 such as clefs, time signatures, and key-signatures are aligned
2315 across staffs. It can contain @code{Lyrics}, @code{Staff},
2316 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2317 @code{ChoirStaff} contexts.
2319 You cannot explicitly instantiate a Score context (since it is
2320 not contained in any other context). It is instantiated
2321 automatically when an output definition (a @code{\score} or
2322 @code{\paper} block) is processed.
2327 Properties that are set in one context are inherited by all of the
2328 contained contexts. This means that a property valid for the
2329 @code{Voice} context can be set in the @code{Score} context (for
2330 example) and thus take effect in all @code{Voice} contexts.
2332 Properties can be preset within the @code{\translator} block
2333 corresponding to the appropriate context. In this case, the syntax
2338 @var{propname} @code{=} @var{value}
2341 This assignment happens before interpretation starts, so a
2342 @code{\property} expression will override any predefined settings.
2344 The @code{\property} expression will create any property you specify.
2345 There is no guarantee that a property will be used. So if you spell
2346 a property name wrong, there will be no error message.
2348 The property settings are used during the interpretation phase. They
2349 are read by the LilyPond modules where interpretation contexts are
2350 built of. These modules are called @emph{translators}. Translators for
2351 notation are called @emph{engravers}, and translators for sound are
2352 called @emph{performers}.
2354 The precise result of a property is determined by the implementation
2355 of the translator that reads them. Therefore, the result of a
2356 property can vary, since it is implementation and configuration
2359 In order to fully find out what properties are used, you must
2360 currently search the source code for calls to @code{get_property}.
2361 The rest of the section is devoted to an (incomplete) overview of
2362 available properties.
2364 @mbinclude properties.itely
2366 @node Notation output definitions, , , Reference Manual
2367 @section Notation output definitions
2371 @cindex notation output
2373 @cindex output definition
2375 @node paper, , , Reference Manual
2377 The most important output definition is the @code{\paper} block, for
2378 music notation. The syntax is
2382 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2385 where each of the items is one of
2388 @item An assignment. The assignment must be terminated by a
2389 semicolon. See section XREF-papervars [FIXME] for information on
2392 @item A context definition. See section XREF-contextdefs [FIXME] for
2393 more information on context definitions.
2398 A margin shape declaration. The syntax is
2402 \shape @var{indent1}@code{,} @var{width1}@code{,}
2403 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2408 Each pair of @var{indent} and @var{width} values is a dimension
2409 specifying how far to indent and how wide to make the line.
2410 The indentation and width of successive lines are specified by
2411 the successive pairs of dimensions. The last pair of
2412 dimensions will define the characeristics of all lines beyond
2413 those explicitly specified.
2415 @item A font declaration. Its syntax is
2419 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2422 @var{fontsize} is an integer describing the font to be used.
2423 0 is the default font. @var{fontname} is the basename of
2424 a font (usually a member of the Feta family).
2429 @cindex changing font size and paper size
2431 The Feta font provides musical symbols at six different sizes. These
2432 fonts are 11 point, 13 point, 16 point, 20 point,
2433 23 point, and 26 point. The point size of a font is the
2434 height of the five lines in a staff when displayed in the font.
2436 Definitions for these sizes are the files @file{paperSZ.ly}, where
2437 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2438 any of these files, the identifiers @code{paper_eleven},
2439 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2440 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2441 respectively. The default @code{\paper} block is also set.
2443 To change the paper size, you must first set the
2444 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2445 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2446 you must set the font as described above. If you want the default
2447 font, then use the 20 point font. The new paper size will not
2448 take effect if the font is not loaded and selected afterwards. Paper
2449 size selection works by loading a file named after the paper size you
2454 @cindex paper variables
2456 @node Paper variables, , , Reference Manual
2458 There is a large number of paper variables that are used to control
2459 details of the layout. These variables control the defaults for the
2460 entire score. Usually, they do not have to be changed; they are by
2461 default set to values that depend on the font size in use. The
2462 values are used by the graphic objects while formatting the score;
2463 they are therefore implementation dependent. Most variables are
2464 accompanied by documentation in the initalization file
2465 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2468 Nevertheless, here are some variables you may want to use or change:
2471 @item @code{indent}@indexcode{indent}
2472 The indentation of the first line of music.
2474 @item @code{interline}@indexcode{interline}
2475 The distance between two staff lines, calculated from the center
2476 of the lines. You should use either this or @code{rulethickness}
2477 as a unit for distances you modify.
2479 @item @code{linewidth}@indexcode{linewidth}
2480 Sets the width of the lines. If set to -1.0, a single
2481 unjustified line is produced.
2483 @item @code{output}@indexcode{output}
2484 Specifies an alternate name for the the output @file{s}.
2485 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2486 added to the string you specify.
2488 @item @code{rulethickness}@indexcode{rulethickness}
2489 Determines the thickness of staff and bar lines.
2493 @node contextdefs, , , Reference Manual
2495 @cindex context definition
2497 A notation contexts is defined by the following information
2502 @item The LilyPond modules that do the actual conversion of music to
2503 notation. Each module is a so-called
2508 @item How these modules should cooperate, i.e. which ``cooperation
2509 module'' should be used. This cooperation module is a special
2512 @item What other contexts the context can contain,
2514 @item What properties are defined.
2517 A context definition has this syntax:
2521 \translator @code{@{}
2522 @var{translatorinit} @var{translatormodifierlist}
2526 @var{translatorinit} can be an identifier or of the form
2530 \type @var{typename} @code{;}
2533 @var{typename} is one of
2536 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2537 The standard cooperation engraver.
2539 @item @code{Score_engraver}@indexcode{Score_engraver}
2540 This is cooperation module that should be in the top level context.
2542 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2543 This is a special cooperation module (resembling
2544 @code{Score_engraver}) that is used to created an embedded
2548 @var{translatormodifierlist} is a list of items where each item is
2552 @item @code{\consists} @var{engravername} @code{;}
2553 Add @var{engravername} to the list of modules in this context.
2554 Section XREF-engravers [FIXME] contains an overview of the engravers
2555 available. The order of engravers added with @code{\consists} is
2558 @item @code{\consistsend} @var{engravername} @code{;}
2559 Analogous to @code{\consists}, but makes sure that
2560 @var{engravername} is always added to the end of the list of
2563 Some engraver types need to be at the end of the list; this
2564 insures they are put there, and stay there, if a user adds or
2565 removes engravers. This command is usually not needed for
2568 @item @code{\accepts} @var{contextname} @code{;}
2569 Add @var{contextname} to the list of context this context can
2570 contain. The first listed context the context to create by
2573 @item @code{\remove} @var{engravername} @code{;}
2574 Remove a previously added (with @code{\consists}) engraver.
2576 @item @code{\name} @var{contextname} @code{;}
2577 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2578 the name is not specified, the translator won't do anything.
2580 @item @var{propname} @code{=} @var{value} @code{;}
2581 A property assignment. It is allowed to use reals for
2585 In the @code{\paper} block, it is also possible to define translator
2586 identifiers. Like other block identifiers, the identifier can only
2587 be used as the very first item of a translator. In order to define
2588 such an identifier outside of @code{\score}, you must do
2594 foo = \translator @{ @dots{} @}
2601 \translator @{ \foo @dots{} @}
2609 @cindex paper types, engravers, and pre-defined translators
2611 Some pre-defined identifiers can simplify modification of
2612 translators. The pre-defined identifiers are:
2615 @item @code{StaffContext}@indexcode{StaffContext}
2616 Default Staff context.
2618 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2619 Default RhythmicStaff context.
2621 @item @code{VoiceContext}@indexcode{VoiceContext}
2622 Default Voice context.
2624 @item @code{ScoreContext}@indexcode{ScoreContext}
2625 Default Score context.
2627 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2628 Score context with numbering at the Score level.
2630 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2631 Staff context with numbering at the Staff level.
2633 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2634 Staff context that does not print if it only contains rests.
2635 Useful for orchestral scores.@footnote{Harakiri, also called
2636 Seppuku, is the ritual suicide of the Samourai.}
2638 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2640 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2643 Using these pre-defined values, you can remove or add items to the
2652 \remove Some_engraver;
2653 \consists Different_engraver;
2662 @node engravers, , , Reference Manual
2664 The engravers for paper output are:
2669 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2670 Engraves bar lines. Normally in @code{Staff} and
2671 @code{RhythmicStaff}.
2673 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2674 Engrave bar numbers. These numbers appear at the start of each
2675 line. Not normally in any translator. Can be added to
2676 @code{Score} for score-wide numbering or to @code{Staff} for
2677 numbering on each staff.
2679 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2680 Handles beam requests by engraving beams. Normally appears in
2681 the @code{Voice} translator. If omitted, then notes will be
2682 printed with flags instead of beams.
2684 @item @code{Beam_req_swallow_translator}
2685 @indexcode{Beam_req_swallow_translator}
2686 Swallows beam requests. In @code{LyricVoice}.
2688 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2689 Engraves chord names. Normally in @code{ChordNameVoice} .
2691 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2693 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2694 Engraves the clef symbol. Normally in @code{Staff}.
2696 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2698 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2699 Engraves dots on dotted notes shifted to the right of the note.
2700 Normally in @code{Voice}. If omitted, then dots appear on top of
2703 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2704 Engraves dynamics symbols. Normally in @code{Voice}.
2706 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2708 @item @code{Key_engraver}@indexcode{Key_engraver}
2709 Engraves the key signature. Normally in @code{Staff}.
2711 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2713 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2714 Engraves lyrics. Normally in @code{LyricVoice}.
2716 @item @code{Multi_measure_rest_engraver}
2717 @indexcode{Multi_measure_rest_engraver}
2718 Engraves multi-measure rests that are produced with @code{R}.
2719 Normally in @code{Voice}.
2721 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2723 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2724 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2725 Note that the notes move, but the locations of accidentals stay
2728 @item @code{Priority_horizontal_align_engraver}
2729 @indexcode{Priority_horizontal_align_engraver}
2731 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2732 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2734 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2735 Handles collisions of rests. In @code{Staff}.
2737 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2738 Engraves rests. Normally in @code{Voice}.
2740 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2742 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2744 @item @code{Script_engraver}@indexcode{Script_engraver}
2745 Handles note ornaments generated by @code{\script}. Normally in
2748 @item @code{Separating_line_group_engraver}
2749 @indexcode{Separating_line_group_engraver}
2751 @item @code{Skip_req_swallow_translator}
2752 @indexcode{Skip_req_swallow_translator}
2754 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2755 Engraves slurs. Normally in @code{Voice}.
2757 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2758 Engraves lines across multiple staffs. Normally in
2759 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2760 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2762 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2764 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2766 @item @code{Instrument_name_engraver}@indexcode{Instrument_name_engraver}
2767 Prints the name of the instrument (specified by
2768 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2771 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2773 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2774 Engraves stems. Normally in @code{Voice}.
2776 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2777 Engraves ties. Normally in @code{Voice}.
2779 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2780 Engraves the time signature. Normally in @code{Staff} and
2781 @code{RhythmicStaff}.
2783 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2784 Responsible for synchronizing timing information from staffs.
2785 Normally in @code{Score}. In order to create polyrhythmic music,
2786 this engraver should be removed from @code{Score} and placed in
2789 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2790 Engraves tuplet brackets? In @code{Staff}.
2792 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2797 @node Sound output, , , Reference Manual
2798 @section Sound output
2802 The MIDI block is analogous to the paper block, but it is simpler.
2803 The @code{\midi} block can contain:
2807 @item a @code{\tempo} definition
2808 @item context definitions
2811 Assignments in the @code{\midi} block are not allowed.
2815 @cindex context definition
2817 Context definitions follow precisely the same syntax as within the
2818 \paper block. Translation modules for sound are called performers.
2819 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2823 @cindex MIDI instrument names
2825 @node midilist, , , Reference Manual
2827 The MIDI instrument name is set by the
2828 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2829 if that property is not set, the
2830 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2831 instrument name should be chosen from the following list. If the
2832 selected string does not exactly match, then LilyPond uses the default
2838 "acoustic grand" "contrabass" "lead 7 (fifths)"
2839 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2840 "electric grand" "pizzicato strings" "pad 1 (new age)"
2841 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2842 "electric piano 1" "timpani" "pad 3 (polysynth)"
2843 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2844 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2845 "clav" "synthstrings 1" "pad 6 (metallic)"
2846 "celesta" "synthstrings 2" "pad 7 (halo)"
2847 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2848 "music box" "voice oohs" "fx 1 (rain)"
2849 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2850 "marimba" "orchestra hit" "fx 3 (crystal)"
2851 "xylophone" "trumpet" "fx 4 (atmosphere)"
2852 "tubular bells" "trombone" "fx 5 (brightness)"
2853 "dulcimer" "tuba" "fx 6 (goblins)"
2854 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2855 "percussive organ" "french horn" "fx 8 (sci-fi)"
2856 "rock organ" "brass section" "sitar"
2857 "church organ" "synthbrass 1" "banjo"
2858 "reed organ" "synthbrass 2" "shamisen"
2859 "accordion" "soprano sax" "koto"
2860 "harmonica" "alto sax" "kalimba"
2861 "concertina" "tenor sax" "bagpipe"
2862 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2863 "acoustic guitar (steel)" "oboe" "shanai"
2864 "electric guitar (jazz)" "english horn" "tinkle bell"
2865 "electric guitar (clean)" "bassoon" "agogo"
2866 "electric guitar (muted)" "clarinet" "steel drums"
2867 "overdriven guitar" "piccolo" "woodblock"
2868 "distorted guitar" "flute" "taiko drum"
2869 "guitar harmonics" "recorder" "melodic tom"
2870 "acoustic bass" "pan flute" "synth drum"
2871 "electric bass (finger)" "blown bottle" "reverse cymbal"
2872 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2873 "fretless bass" "whistle" "breath noise"
2874 "slap bass 1" "ocarina" "seashore"
2875 "slap bass 2" "lead 1 (square)" "bird tweet"
2876 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2877 "synth bass 2" "lead 3 (calliope)" "helicopter"
2878 "violin" "lead 4 (chiff)" "applause"
2879 "viola" "lead 5 (charang)" "gunshot"
2880 "cello" "lead 6 (voice)"
2886 @cindex MIDI types and performers
2888 The types available for MIDI translators are:
2891 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2892 @item @code{Score_performer}@indexcode{Score_performer}
2893 @item @code{Staff_performer}@indexcode{Staff_performer}
2896 The performers for MIDI translators are:
2899 @item @code{Key_performer}@indexcode{Key_performer}
2900 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2901 @item @code{Note_performer}@indexcode{Note_performer}
2902 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2903 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2908 @node Pre-defined Identifiers, , , Reference Manual
2910 @section Pre-defined Identifiers
2912 @cindex pre-defined identifiers
2915 Various identifiers are defined in the initialization files to
2916 provide shorthands for some settings. Most of them are in
2917 @file{ly/declarations.ly}.
2920 @item @code{\break}@keyindex{break}
2921 Force a line break in music by using a large argument for the
2922 keyword @code{\penalty}.
2924 @item @code{\center}@keyindex{center}
2925 Used for setting direction properties. Equals 0.
2927 @item @code{\down}@keyindex{down}
2928 Used for setting direction setting properties. Is equal
2931 @item @code{\free}@keyindex{free}
2932 Used for setting direction setting properties. Is equal
2935 @item @code{\left}@keyindex{left}
2936 Used for setting text alignment property. Is equal to -1.
2938 @item @code{\nobreak}@keyindex{nobreak}
2939 Prevent a line break in music by using a large negative argument
2940 for the keyword @code{\penalty}.
2942 @item @code{\none}@keyindex{none}
2943 Used for setting @code{Score.beamslopedamping} and
2944 @code{Score.beamquantisation} properties. Is equal to 0.
2946 @item @code{\normal}@keyindex{normal}
2947 Used for setting @code{Score.beamslopedamping} and
2948 @code{Score.beamquantisation} properties. Is equal to 1.
2950 @item @code{\normalkey}@keyindex{normalkey}
2951 Select normal key signatures where each octave has the same key
2952 signature. This sets the @code{Staff.keyoctaviation} property.
2954 @item @code{\right}@keyindex{right}
2955 Used for setting text alignment property. Is set to 1.
2957 @item @code{\shiftoff}@keyindex{shiftoff}
2958 Disable horizontal shifting of note heads that collide. Sets the
2959 @code{Voice.horizontalNoteShift} property.
2961 @item @code{\shifton}@keyindex{shifton}
2962 Enable note heads that collide with other note heads to be
2963 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2966 @item @code{\slurboth}@keyindex{slurboth}
2967 Allow slurs to be above or below notes. This sets the
2968 @code{Voice.slurVerticalDirection} property.
2970 @item @code{\slurdown}@keyindex{slurdown}
2971 Force slurs to be below notes. This sets the
2972 @code{Voice.slurVerticalDirection} property.
2974 @item @code{\slurup}@keyindex{slurup}
2975 Force slurs to be above notes. This sets the
2976 @code{Voice.slurVerticalDirection} property.
2978 @item @code{\specialkey}@keyindex{specialkey}
2979 Allow key signatures do differ in different octaves. This sets
2980 the @code{Staff.keyoctaviation} property.
2982 @item @code{\stemboth}@keyindex{stemboth}
2983 Allow stems, beams, and slurs to point either upwards or
2984 downwards, decided automatically by LilyPond. This sets the
2985 @code{Voice.verticalDirection} property.
2987 @item @code{\stemdown}@keyindex{stemdown}
2988 Force stems, beams, and slurs to point down. This sets the
2989 @code{Voice.verticalDirection} property.
2991 @item @code{\stemup}@keyindex{stemup}
2992 Force stems, beams and slurs to point up. This sets the
2993 @code{Voice.verticalDirection} property.
2995 @item @code{\traditional}@keyindex{traditional}
2996 Used for setting the @code{Score.beamquantisation} property. Is
2999 @item @code{\up}@keyindex{up}
3000 Used for setting various direction properties. Is equal