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} is constructed, and with this context
87 af network of @strong{graphical objects} (``grobs'') is created. The
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. With each concept 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
331 If you view the result with Xdvi, then staff lines will show through the
332 letters. Printing the postscript file obtained either by using dvips or
333 the @code{-f ps} option of lilypond will produce the desired result.
343 A tie connects two adjacent note heads of the same pitch. When used
344 with chords, it connects all of the note heads whose pitches match.
345 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
346 together chords which have no common pitches then no ties will be
349 @lilypond[fragment,verbatim,center]
350 e' ~ e' <c' e' g'> ~ <c' e' g'>
353 If you dislike the amount of ties created for a chord, you set
354 @code{Voice.sparseTies} to true, resulting in a smaller number of
356 @lilypond[fragment,verbatim,center]
357 \property Voice.sparseTies = ##t
358 <c' e' g'> ~ <c' e' g'>
361 In its meaning a tie is just a way of extending a note duration, similar
362 to the augmentation dot: the following example are two ways of notating
363 exactly the same concept.
365 @lilypond[fragment, singleline]
370 Ties are printed through the @code{Tie} grob.
374 At present, the tie is implemented as a separate thing, temporally
375 located in between the notes. There is also no way to convert
376 between tied notes, dotted notes and plain notes.
378 Tieing only a subset of the note heads of a chord is not supported in a
379 simple way. It can be achieved by moving the tie-engraver into Thread
380 context and turning on an off ties per Thread.
388 @cindex @code{\times}
390 Tuplets are made out of a music expression by multiplying their duration
393 @cindex @code{\times}
395 \times @var{fraction} @var{musicexpr}
398 The duration of @var{musicexpr} will be multiplied by the fraction.
399 In print, the fraction's denominator will be printed over the notes,
400 optionally with a bracket. The most common tuplet is the triplet in
401 which 3 notes have the length of 2, so the notes are 2/3 of
402 their written length:
404 @lilypond[fragment,verbatim,center]
405 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
408 The property @code{tupletSpannerDuration} specifies how long brackets
409 should last. With this, you can make lots of tuplets while typing
410 @code{\times} only once. This saves typing work when you must make lots
413 @lilypond[fragment, relative, singleline, verbatim]
414 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
415 \times 2/3 { c''8 c c c c c }
418 The format of the number is determined by the property
419 @code{tupletNumberFormatFunction}. The default prints only the
420 denominator, but if you set it to the Scheme function
421 @code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
423 @cindex @code{tupletNumberFormatFunction}
424 @cindex tuplet formatting
426 Tuplet brackets are printed as @code{TupletBracket} grobs
434 Rests are entered like notes, with note name `@code{r}'. The grob is
445 \skip @var{duration} @code{;}
450 Skips the amount of time specified by @var{duration}. If no other music
451 is played, a gap will be left for the skipped time with no notes
452 printed. The shorthand is only available in Note and Chord mode.
457 @section Staff notation
459 @cindex Staff notation
471 @subsection Key signature
476 Changing the key signature is done with the @code{\key} command.
478 @code{\key} @var{pitch} @var{type} @code{;}
481 @cindex @code{\minor}
482 @cindex @code{\major}
483 @cindex @code{\minor}
484 @cindex @code{\ionian}
485 @cindex @code{\locrian}
486 @cindex @code{\aeolian}
487 @cindex @code{\mixolydian}
488 @cindex @code{\lydian}
489 @cindex @code{\phrygian}
490 @cindex @code{\dorian}
492 Here, @var{type} should be @code{\major} or @code{\minor} to get
493 @var{pitch}-major or @var{pitch}-minor, respectively. The second
494 argument is optional; the default is major keys. The @var{\context}
495 argument can also be given as an integer, which tells the number of
496 semitones that should be added to the pitch given in the subsequent
497 @code{\key} commands to get the corresponding major key, e.g.,
498 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
499 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
500 @code{\phrygian}, and @code{\dorian} are also defined.
502 This command sets context property @code{Staff.keySignature}.
504 The printed signature is a @code{KeySignature} grob.
506 @cindex @code{keySignature}
513 \clef @var{clefname} @code{;}
519 \property Staff.clefGlyph = @var{glyph associated with clefname}
520 \property Staff.clefPosition = @var{clef Y-position for clefname}
521 \property Staff.clefOctavation = @var{extra pitch of clefname}
524 Any change in these properties creates a clef (a @code{Clef} grob).
526 Supported clef-names include
529 @item treble, violin, G, G2: G clef on 2nd line
530 @item french: G clef on 1st line
531 @item soprano: C clef on 1st line
532 @item mezzosoprano: C clef on 2nd line
533 @item alto: C clef on 3rd line
534 @item tenor: C clef on 4th line
535 @item baritone: C clef on 5th line
536 @item varbaritone: F clef on 3rd line
537 @item bass, F: F clef on 4th line
538 @item subbass: F clef on 5th line
539 @item percussion: percussion clef
542 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
545 @item clefs-C: modern style C clef
546 @item clefs-F: modern style F clef
547 @item clefs-G: modern style G clef
548 @item clefs-vaticana_do: Editio Vaticana style do clef
549 @item clefs-vaticana_fa: Editio Vaticana style fa clef
550 @item clefs-medicaea_do: Editio Medicaea style do clef
551 @item clefs-medicaea_fa: Editio Medicaea style fa clef
552 @item clefs-mensural1_c: modern style mensural C clef
553 @item clefs-mensural2_c: historic style small mensural C clef
554 @item clefs-mensural3_c: historic style big mensural C clef
555 @item clefs-mensural1_f: historic style traditional mensural F clef
556 @item clefs-mensural2_f: historic style new mensural F clef
557 @item clefs-mensural_g: historic style mensural G clef
558 @item clefs-hufnagel_do: historic style hufnagel do clef
559 @item clefs-hufnagel_fa: historic style hufnagel fa clef
560 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
561 @item clefs-percussion: modern style percussion clef
564 @emph{Modern style} means ``as is typeset in current editions.''
565 @emph{Historic style} means ``as was typeset or written in contemporary
566 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
569 @cindex Vaticana, Editio
570 @cindex Medicaea, Editio
571 @cindex hufnagel clefs
574 @c . {Time signature}
576 @subsection Time signature
577 @cindex Time signature
581 The time signature is changed by the @code{\time} command. Syntax:
583 \time @var{numerator}@code{/}@var{denominator} @code{;}
585 Internally, this is a shortcut for doing
587 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
590 The grob is @code{TimeSignature}. There are many options for the layout
591 of this grob. They are selected through the @code{style} grob
592 property. See @file{input/test/time.ly} for examples.
599 @cindex partial measure
600 @cindex measure, partial
601 @cindex shorten measures
602 @cindex @code{\partial}
604 Partial measures are entered using the @code{\partial} command:
606 \partial @var{duration} @code{;}
609 Internally, this is a shortcut for
612 \property Score.measurePosition = -@var{length of duration}
617 @node Unmetered music
618 @subsection Unmetered music
620 Bar lines and bar numbers are calculated automatically. For unmetered
621 music (e.g. cadenzas), this is not desirable. The property
622 @code{Score.timing} can be used to switch off this automatic timing
624 @lilypond[fragment,relative,singleline,verbatim]
626 \property Score.timing = ##f
628 \property Score.timing = ##t
632 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
633 achieve the same effect.
639 @subsection Bar lines
643 @cindex measure lines
650 This is a shortcut for doing
652 \property Score.whichBar = @var{bartype}
655 You are encouraged to use @code{\repeat} for repetitions. See
656 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
660 @cindex Bar_line_engraver
662 @cindex repeatCommands
663 @cindex defaultBarType
665 Bar lines are created by the @code{Bar_engraver}. That engraver examines
666 @code{whichBar} at every moment. Whenever it is set to a string, it will
667 create a bar with that type. @code{whichBar} is usually set
668 automatically: at the start of a measure it is set to
669 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
670 override default measure bars.
672 @code{whichBar} can also be set directly, using @code{\property} or
673 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
676 @code{Bar_engraver} creates @code{BarLine} grobs.
683 Polyphonic parts, i.e. parts with more than one voice on a staff can be
684 typeset with LilyPond. To use this, instantiate a separate Voice
685 context for each part, and assign a stem direction to each part.
686 @lilypond[fragment,verbatim]
688 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
689 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
692 When there are more than two voices on a staff, you must also indicate
693 which voice should moved horizontally in case of a collision. This can
694 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
695 @code{\shiftOnn}, etc. (which sets grob property @code{horizontal-shift}
696 in @code{NoteColumn}).
698 @lilypond[fragment, verbatim]
699 \context Staff \notes\relative c''<
706 \context Voice=three {
707 \shiftOnn \stemUp ais
709 \context Voice=four {
710 \shiftOnnn \stemUp fis
715 The most convenient way is to use the identifiers @code{\voiceOne}
716 through @code{\voiceFour}, which also set slur and tie directions in the
719 @lilypond[singleline, verbatim]
721 \context Staff < \context Voice = VA { \voiceOne cis2 b }
722 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
723 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
726 LilyPond also vertically shifts rests that are opposite of a stem.
728 @lilypond[singleline,verbatim]
730 \context Voice { \stemUp c''4 }
731 \context Voice =VB { r4 }
735 Note head collisions (horizontal shifting of note heads) are handled by
736 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
739 @cindex @code{NoteCollision}
740 @cindex @code{RestCollision}
745 Resolving collisions is a very intricate subject, and LilyPond only
746 handles a few situations. When it can not cope, you are advised to use
747 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
748 the Rest grob to override typesetting decisions.
753 Beams are used to group short notes into chunks that are aligned with
754 the metrum. LilyPond guesses where beams should be inserted, but if
755 you're not satisfied with the automatic beaming, you can either instruct
756 lilypond which patterns to beam automatically. In specific cases, you
757 can also specify explicitly what to beam and what not.
760 @c . {Automatic beams}
761 @subsection Automatic beams
763 @cindex @code{Voice.autoBeamSettings}
764 @cindex @code{(end * * * *)}
765 @cindex @code{(begin * * * *)}
767 A large number of Voice properties are used to decide how to generate
768 beams. Their default values appear in @file{scm/auto-beam.scm}.
770 By default, automatic beams can start on any note@footnote{In exotic
771 time signatures such as 1/8 and 1/16 this is not true} but can only end
772 in a few positions within the measure: they can end on a beat, or at
773 durations specified by the properties in
774 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
775 are defined in @file{scm/auto-beam.scm}.
777 The syntax for changing the value @code{autoBeamSettings} is set using
778 @code{\override} and unset using @code{\revert}:
780 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
781 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
783 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
784 whether the rule applies to begin or end-points. The quantity
785 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
786 designate all time signatures), @var{P}/@var{Q} refers to the length of
787 the beamed notes (@code{* *} designate notes of any length).
789 If you want automatic beams to end on every quarter note, you can
792 \property Voice.autoBeamSettings \override
793 #'(end * * * *) = #(make-moment 1 4)
795 The duration a quarter note is 1/4 of a whole note. It is entered as
796 @code{(make-moment 1 4)}.
798 The same syntax can be used to specify beam starting points. In this
799 example, you automatic beams can only end on a dotted quarter note.
801 \property Voice.autoBeamSettings \override
802 #'(begin * * * *) = #(make-moment 3 8)
804 In 4/4 time signature, this means that automatic beams could end only on
805 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
806 3/8 has passed within the measure).
808 You can also restrict rules to specific time signatures. A rule that
809 should only be applied in @var{N}/@var{M} time signature is formed by
810 replacing the first asterisks by @var{N} and @var{M}. For example, a
811 rule for 6/8 time exclusively looks like
813 \property Voice.autoBeamSettings \override
814 #'(begin 6 8 * *) = ...
817 If you want a rule to apply to certain types of beams, you can use the
818 second pair of asterisks. Beams are classified according to the shortest
819 note they contain. For a beam ending rule that only applies to beams
820 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
824 @c Automatic beams can not be put on the last note in a score.
826 If a score ends while an automatic beam has not been ended and is still
827 accepting notes, this last beam will not be typeset at all.
829 @cindex automatic beam generation
831 @cindex @code{Voice.noAutoBeaming}
833 Automatic beaming is on by default, but it can switched off by setting
834 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
835 a melody that goes with lyrics.
839 It is not possible to specify beaming parameters for beams with mixed
840 durations, that differ from the beaming parameters of all separate
841 durations, ie, you'll have to specify manual beams to get:
842 @lilypond[fragment,singleline,relative]
843 \property Voice.autoBeamSettings
844 \override #'(end * * * *) = #(make-moment 3 8)
845 \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
848 It is not possible to specify beaming parameters that act differently in
849 different parts of a measure, eg, in irregular meters such as @code{5/8}
850 that breaks down to @code{2/8 +3/8} or @code{3/8 + 2/8}, automatic beams
851 won't act according to the broken down parts @code{2/8} and @code{3/8}.
854 @cindex Automatic beams
855 @subsection Manual beams
856 @cindex beams, manual
860 In some cases it may be necessary to override LilyPond's automatic
861 beaming algorithm. For example, the auto beamer will not beam over
862 rests or bar lines, so if you want that, specify the begin and end point
863 manually using @code{[} and @code{]}:
865 @lilypond[fragment,relative,verbatim]
867 r4 [r8 g'' a r8] r8 [g | a] r8
870 Whenever an manual beam is busy, the auto beam will not produce
873 @cindex @code{stemLeftBeamCount}
875 If you have specific wishes for the number of beams, you can fully
876 control the number of beams through the properties
877 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
879 @lilypond[fragment,relative,verbatim]
882 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
885 @cindex @code{stemRightBeamCount}
887 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
888 beams) can be tweaked through grob-properties @code{height} and
889 @code{staff-position}, which are both measured staff-spaces.
891 [TODO: check: halfspaces?]
893 Set @code{height} to zero, to get horizontal beams:
895 @lilypond[fragment,relative,verbatim]
896 \property Voice.Beam \set #'direction = #1
897 \property Voice.Beam \set #'height = #0
901 Here's how you'd specify a weird looking beam that instead of being
902 horizontal, falls two staff spaces:
904 @lilypond[fragment,relative,verbatim]
905 \property Voice.Beam \set #'staff-position = #2
906 \property Voice.Beam \set #'height = #-2
909 @cindex @code{default-neutral-direction}
911 @node Expressive marks
912 @section Expressive marks
927 A slur indicates that notes are to be played bound or @emph{legato}. In
928 lilypond, they are entered using parentheses:
929 @lilypond[fragment,verbatim,center]
930 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
934 Slurs avoid crossing stems, and are attached to note heads whenever
935 possible. In some instances involving beams slurs may be attached to a
936 stem end. If you want to override this layout you can do this through
937 @code{Voice.Slur}'s grob-property @code{attachment}:
939 @lilypond[fragment,relative,verbatim]
940 \property Voice.Slur \set #'direction = #1
941 \property Voice.Stem \set #'length = #5.5
943 \property Voice.Slur \set #'attachment = #'(stem . stem)
947 If a slur would strike through a stem or beam, the slur will be moved
948 away upward or downward. If this happens, attaching the slur to the
949 stems might look better:
951 @lilypond[fragment,relative,verbatim]
952 \property Voice.Stem \set #'direction = #1
953 \property Voice.Slur \set #'direction = #1
955 \property Voice.Slur \set #'attachment = #'(stem . stem)
960 Similarly, the curvature of a slur is adjusted to stay clear of note
961 heads and stems. When that would increase the curvature too much, the
962 slur is reverted to its default shape. The threshold for this decision
963 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
964 related to the enclosed area between the slur and the notes. Usually,
965 the default setting works well, but in some cases you may prefer a
966 curved slur when LilyPond decides for a vertically moved one. You can
967 express this by increasing the @code{beautiful} value:
969 @lilypond[verbatim,singleline,relative]
970 \property Voice.Beam \override #'direction = #-1
971 \property Voice.Slur \override #'direction = #1
972 c'16( a' f' a a f a, )c,
974 \property Voice.Slur \override #'beautiful = #5.0
980 The definition for @code{beautiful} is vague, the default setting is
981 experimental computer science.
983 @cindex Adusting slurs
986 @subsection Phrasing slur
988 @cindex phrasing slur
989 @cindex phrasing mark
991 A phrasing slur (or phrasing mark) connects chords and is used to
992 indicate a musical sentence. It is entered using @code{\(} and
995 @lilypond[fragment,verbatim,center,relative]
996 \time 6/4; c''\((d)e f(e)\)d
999 Typographically, the phrasing slur behaves almost exactly like a normal
1000 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1003 @subsection Breath marks
1005 Breath marks are entered using @code{\breathe}:
1007 @lilypond[fragment,relative]
1011 Currently, only tick marks are supported, comma style breath marks are
1012 not. The grob for this object is called @code{Voice.BreathingSign}.
1017 Currently, only tick marks are supported, comma style breath marks are
1025 @cindex beats per minute
1026 @cindex metronome marking
1028 @cindex @code{\tempo}
1030 \tempo @var{duration} = @var{perminute} @code{;}
1033 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1034 output with 76 quarter notes per minute.
1038 The tempo setting is not printed, but is currently only used in the MIDI
1039 output. You can trick lily into producing a metronome mark,
1040 though. Details are in @ref{Text markup}.
1045 @subsection Text spanner
1046 @cindex Text spanner
1048 Some textual indications, e.g. rallentando, accelerando, often extend
1049 over a many measures. This is indicated by following the text with a
1050 dotted line. You can create such texts in LilyPond using
1051 text spanners. The syntax is as follows:
1053 \spanrequest \start "text"
1054 \spanrequest \stop "text"
1056 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1057 string to be printed, as well as the style is set through grob
1060 An application---or rather, a hack---is to fake octavation indications.
1061 @lilypond[fragment,relative,verbatim]
1062 \relative c' { a'''' b c a
1063 \property Voice.TextSpanner \set #'type = #'dotted-line
1064 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1065 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1066 \property Staff.centralCPosition = #-13
1067 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1085 @subsection Articulation
1086 @cindex Articulation
1088 @cindex articulations
1092 A variety of symbols can appear above and below notes to indicate
1093 different characteristics of the performance. These symbols can be
1094 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1095 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1096 forced to appear above or below the note by writing
1097 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1098 respectively. Here is a chart showing symbols above notes, with the
1099 name of the corresponding symbol appearing underneath.
1104 \property Score.LyricSyllable \override #'font-family =
1106 \property Score.LyricSyllable \override #'font-shape = #'upright
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;
1132 To save typing work, some shorthands are available:
1133 @lilypond[singleline]
1135 \notes \context Voice {
1136 \property Voice.TextScript \set #'font-family = #'typewriter
1137 \property Voice.TextScript \set #'font-shape = #'upright
1143 c''4-^_"c-\\^{ }" s4
1150 Fingering instructions can also be entered in this shorthand.
1151 @lilypond[verbatim, singleline, fragment]
1152 c'4-1 c'4-2 c'4-3 c'4-4
1156 @cindex @code{\script}
1165 Defines a script printing request. The argument is a string which
1166 points into the script-alias table defined in @file{scm/script.scm}.
1167 Usually the @code{\script} keyword is not used directly. Various
1168 helpful identifier definitions appear in @file{script.ly}.
1170 For information on how to add scripts, consult @file{scm/script.scm}.
1172 Grobs for these objects are @code{Script} and @code{Fingering}.
1176 All of these note ornaments appear in the printed output but have no
1177 effect on the MIDI rendering of the music.
1179 Unfortunately, there is no support adding fingering instructions or
1180 ornaments to individual note heads. Some hacks exist, though. See
1181 @file{input/test/script-horizontal.ly}.
1186 @subsection Text scripts
1187 @cindex Text scripts
1189 In addition, it is possible to place arbitrary strings of text or markup
1190 text (see @ref{Text markup}) above or below notes by using a string:
1191 @code{c^"text"}. The text is typeset in italic by default.
1193 The amount of space taken by these indications by default does not
1194 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1195 take the widths into account. The identifier @code{\fattext} is defined
1196 in the standard includes.
1197 @lilypond[fragment,singleline,verbatim]
1198 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1201 Text scripts are created in form of @code{Voice.TextScript} grobs.
1203 For purposes of defining identifiers, a more verbose form also exists:
1206 \textscript @var{text}
1209 Defines a text to be printed over or under a note. @var{text} is a
1210 string or a markup text.
1214 foo = \textscript #'(finger "6")
1221 This is equivalent to @code{c4-6 c4-"foo"}.
1226 @subsection Grace notes
1235 @cindex @code{\grace}
1238 @cindex @code{graceAlignPosition}
1240 Grace notes are ornaments that are written out, but do not take up any
1241 logical time in a measure. LilyPond has limited support for grace notes.
1242 The syntax is as follows.
1244 \grace @var{musicexpr}
1247 When grace music is interpreted, a score-within-a-score is set up:
1248 @var{musicexpr} has its own time bookkeeping, and you could (for
1249 example) have a separate time signature within grace notes. While in
1250 this score-within-a-score, you can create notes, beams, slurs, etc.
1251 Unbeamed eighth notes and shorter by default have a slash through the
1252 stem. This behavior can be controlled with the
1253 @code{Stem}.@code{flag-style} property.
1255 @lilypond[fragment,verbatim]
1257 \grace c8 c4 \grace { [c16 c16] } c4
1258 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1263 At present, nesting @code{\grace} notes is not supported. The following
1264 may cause run-time errors:
1266 @code{\grace @{ \grace c32 c16 @} c4}
1268 Since the meaning of such a construct is unclear, we don't consider this
1269 a loss. Similarly, juxtaposing two @code{\grace} sections is
1270 syntactically valid, but makes no sense and may cause runtime errors.
1271 Ending a staff or score with grace notes may also generate a run-time
1272 error, since there will be no main note to attach the grace notes to.
1275 A grace note expression has duration 0; the next real note is assumed to
1276 be the main note. If you want the note to appear after the main note,
1277 set @code{Voice.graceAlignPosition} to @code{1}.
1281 The present implementation of grace notes is not robust and generally
1282 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1283 also be implemented.
1296 @subsection Glissando
1299 @cindex @code{\glissando}
1301 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1302 @code{\glissando} to a note:
1304 @lilypond[fragment,relative,verbatim]
1310 Printing of an additional text (such as @emph{gliss.}) must be done
1317 @subsection Dynamics
1330 @cindex @code{\ffff}
1340 Absolute dynamic marks are specified by using an identifier after a
1341 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1342 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1343 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1344 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1346 @lilypond[verbatim,singleline,fragment,relative]
1347 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1351 @cindex Crescendo and Decrescendo
1355 @cindex @code{\decr}
1356 @cindex @code{\rced}
1362 A crescendo mark is started with @code{\cr} and terminated with
1363 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1364 started with @code{\decr} and terminated with @code{\rced}. There are
1365 also shorthands for these marks. A crescendo can be started with
1366 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1367 can be terminated with @code{\!}. Note that @code{\!} must go before
1368 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1369 after the last note. Because these marks are bound to notes, if you
1370 want to get several marks during one note, you must use spacer notes.
1372 @lilypond[fragment,verbatim,center]
1373 c'' \< \! c'' d'' \decr e'' \rced
1374 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1377 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1378 is an example how to do it:
1380 @lilypond[fragment,relative,verbatim]
1382 \property Voice.crescendoText = "cresc."
1383 \property Voice.crescendoSpanner = #'dashed-line
1389 Dynamics are grobs of @code{Voice.DynamicText} and
1390 @code{Voice.Hairpin}. They are put together on
1391 @code{Voice.DynamicLineSpanner} to align them vertically.
1400 @cindex @code{\repeat}
1402 To specify repeats, use the @code{\repeat} keyword. Since repeats
1403 should work differently when played or printed, there are a few
1404 different variants of repeats.
1408 Repeated music is fully written (played) out. Useful for MIDI
1412 This is the normal notation: Repeats are not written out, but
1413 alternative endings (voltas) are printed, left to right.
1416 Alternative endings are written stacked. Which is unfortunately not
1417 practical for anything right now.
1423 Make measure repeats. These look like percent signs.
1429 * Manual repeat commands::
1431 * Tremolo subdivision::
1436 @subsection Repeat syntax
1438 The syntax for repeats is
1441 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1444 If you have alternative endings, you may add
1445 @cindex @code{\alternative}
1447 \alternative @code{@{} @var{alternative1}
1449 @var{alternative3} @dots{} @code{@}}
1451 where each @var{alternative} is a music expression.
1453 Normal notation repeats are used like this:
1454 @lilypond[fragment,verbatim]
1456 \repeat volta 2 { c'4 d' e' f' }
1457 \repeat volta 2 { f' e' d' c' }
1460 With alternative endings:
1461 @lilypond[fragment,verbatim]
1463 \repeat volta 2 {c'4 d' e' f'}
1464 \alternative { {d'2 d'} {f' f} }
1467 Folded repeats look like this:
1470 @lilypond[fragment,verbatim]
1472 \repeat fold 2 {c'4 d' e' f'}
1473 \alternative { {d'2 d'} {f' f} }
1477 If you don't give enough alternatives for all of the repeats, then
1478 the first alternative is assumed to be repeated often enough to equal
1479 the specified number of repeats.
1481 @lilypond[fragment,verbatim]
1485 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1486 \alternative { { g4 g g } { a | a a a a | b2. } }
1493 As you can see, LilyPond doesn't remember the timing information, nor
1494 are slurs or ties repeated, so you have to reset timing information
1495 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1496 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1499 It is possible to nest @code{\repeat}, although it probably is only
1500 meaningful for unfolded repeats.
1502 Folded repeats offer little more over simultaneous music. However, it
1503 is to be expected that more functionality -- especially for the MIDI
1504 backend -- will be implemented at some point in the future.
1506 @node Manual repeat commands
1507 @subsection Manual repeat commands
1509 @cindex @code{repeatCommands}
1511 The property @code{repeatCommands} can be used to control the layout of
1512 repeats. Its value is a Scheme list of repeat commands, where each repeat
1520 @item (volta . @var{text})
1521 Print a volta bracket saying @var{text}.
1523 Stop a running volta bracket
1526 @lilypond[verbatim, fragment]
1528 \property Score.repeatCommands = #'((volta "93") end-repeat)
1530 \property Score.repeatCommands = #'((volta #f))
1535 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1537 @node Tremolo repeats
1538 @subsection Tremolo repeats
1539 @cindex tremolo beams
1541 To place tremolo marks between notes, use @code{\repeat} with tremolo
1543 @lilypond[verbatim,center,singleline]
1545 \context Voice \notes\relative c' {
1546 \repeat "tremolo" 8 { c16 d16 }
1547 \repeat "tremolo" 4 { c16 d16 }
1548 \repeat "tremolo" 2 { c16 d16 }
1549 \repeat "tremolo" 4 c16
1554 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1555 @code{Voice.StemTremolo}.
1560 At present, the spacing between tremolo beams is not regular, since the
1561 spacing engine does not notice that not all notes are printed.
1563 @node Tremolo subdivision
1564 @subsection Tremolo subdivision
1565 @cindex tremolo marks
1566 @cindex @code{tremoloFlags}
1568 Tremolo marks can be printed on a single note by adding
1569 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1570 A @var{length} value of 8 gives one line across the note stem. If the
1571 length is omitted, then then the last value (stored in
1572 @code{Voice.tremoloFlags}) is used.
1574 @lilypond[verbatim,fragment,center]
1577 Using this mechanism pays off when you entering many tremolos, since the
1578 default argument saves a lot of typing.
1583 Tremolos in this style do not carry over into the MIDI output.
1586 @node Measure repeats
1587 @subsection Measure repeats
1589 @cindex percent repeats
1590 @cindex measure repeats
1592 In the @code{percent} style, a note pattern can be repeated. It is
1593 printed once, and then the pattern is replaced with a special sign.
1595 @lilypond[verbatim,singleline]
1596 \context Voice { \repeat "percent" 4 { c'4 }
1597 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1601 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1602 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1606 You can not nest percent repeats, e.g. filling in the first measure with
1607 slashes, and repeating that measure with percents.
1609 @node Rhythmic music
1610 @section Rhythmic music
1617 @node Rhythmic staffs
1618 @subsection Rhythmic staffs
1620 Some times you might want to show only the rhythm of a melody. This can
1621 be done with the rhythmic staff. All pitches of notes on such a staff
1622 are squashed, and the staff itself looks has a single staff line:
1624 @lilypond[fragment,relative ]
1625 \context RhythmicStaff {
1627 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1634 @section Piano music
1636 Piano music is an odd type of notation: two staffs are largely
1637 independent, but sometimes voices can cross between the two staffs. The
1638 @code{PianoStaff} is especially built to handle this cross-staffing
1639 behavior. In this section we discuss the @code{PianoStaff} and some
1640 other pianistic peculiarities.
1643 * Automatic staff changes::
1644 * Manual staff switches::
1651 @c . {Automatic staff changes}
1652 @node Automatic staff changes
1653 @subsection Automatic staff changes
1654 @cindex Automatic staff changes
1656 Voices can be switched from top to bottom staff automatically. The
1659 \autochange @var{contexttype} @var{musicexp}
1661 This will switch notation context of @var{musicexp} between a
1662 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1663 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1664 of pitch (central C is the turning point), and it looks ahead skipping
1665 over rests to switch rests in advance.
1667 @lilypond[verbatim,singleline]
1668 \score { \notes \context PianoStaff <
1669 \context Staff = "up" {
1670 \autochange Staff \context Voice = VA < \relative c' {
1671 g4 a b c d r4 a g } > }
1672 \context Staff = "down" {
1678 Note how spacer rests are used to prevent the bottom staff from
1679 terminating too soon.
1682 @node Manual staff switches
1683 @subsection Manual staff switches
1685 @cindex manual staff switches
1686 @cindex staff switch, manual
1688 Voices can be switched between staffs manually, using the following command:
1690 \translator Staff = @var{which} @var{music}
1692 The string @var{which} is the name of the staff. Typically it is
1693 @code{"up"} or @code{"down"}.
1695 Formally, this construct is a music expression indicating that the
1696 context which is a direct child of the a context of type
1697 @var{contexttype} should be shifted to a context of type
1698 @var{contexttype} and the specified name.
1700 @cindex @code{\translator}
1702 \translator @var{contexttype} = @var{name}
1711 Piano pedal instruction can be expressed using
1712 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1713 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1715 These identifiers are shorthands for spanner commands of the types
1716 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1718 @lilypond[fragment,verbatim]
1719 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1722 The symbols that are printed can be modified by setting
1723 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1724 types. Refer to the generated documentation for more information.
1729 Currently, brackets are not supported, only text markings (ie. *Ped
1735 @subsection Arpeggio
1738 @cindex broken arpeggio
1739 @cindex @code{\arpeggio}
1741 You can specify an arpeggio sign on a chord by attaching an
1742 @code{\arpeggio} to a note of the chord.
1745 @lilypond[fragment,relative,verbatim]
1746 \context Voice <c'\arpeggio e g c>
1749 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1750 to the chords in both staffs, and set
1751 @code{PianoStaff.connectArpeggios}.
1753 @lilypond[fragment,relative,verbatim]
1754 \context PianoStaff <
1755 \property PianoStaff.connectArpeggios = ##t
1756 \context Voice = one { <c''\arpeggio e g c> }
1757 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1761 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1762 are @code{PianoStaff.Arpeggio}.
1766 It is not possible to mix connected arpeggios and unconnected arpeggios
1770 @c . {VoiceFollower}
1772 @subsection VoiceFollower
1774 @cindex follow voice
1775 @cindex staff switching
1778 @cindex @code{followVoice}
1780 Whenever a voice switches to another staff a line connecting the notes
1781 can be printed automatically. This is enabled if the property
1782 @code{PianoStaff.followVoice} is set to true:
1784 @lilypond[fragment,relative,verbatim]
1785 \context PianoStaff <
1786 \property PianoStaff.followVoice = ##t
1787 \context Staff \context Voice {
1789 \translator Staff=two
1792 \context Staff=two {\clef bass; \skip 1*2;}
1796 The associated grob is @code{Voice.VoiceFollower}.
1806 * Automatic syllable durations::
1812 @subsection Lyrics mode
1815 To print lyrics in LilyPond, you must first make a music expression from
1816 the lyric text. When they're in a music expression, that music
1817 expression can be printed by selecting an appropriate context. We shall
1818 discuss lyric printing in this order.
1822 @cindex @code{\lyrics}
1824 You can enter lyrics in a special input mode of LilyPond. This mode is
1825 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1826 The purpose of this mode is that you can enter lyrics as plain text,
1827 punctuation and accents without any hassle.
1829 The precise definition of this mode is in @ref{Lyrics mode
1830 definition}. The definition itself is ludicrous, and this will remain so
1831 until the authors of LilyPond acquire a deeper understanding of
1832 character encoding, or someone else steps up to fix this.
1834 Syllables are entered like notes, with pitches replaced by text. For
1835 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1836 the hyphen has no special meaning for lyrics, and does not introduce
1839 Spaces can be introduced into a lyric either by using quotes
1840 (@code{"}) or by using an underscore without quotes: @code{He_could4
1841 not4}. All unquoted underscores are converted to spaces.
1843 @c . {Printing lyrics}
1844 @node Printing lyrics
1845 @subsection Printing lyrics
1848 Normally, you will want to have notes and syllables matched
1849 automatically. This is accomplished using @code{\addlyrics}, which is
1850 documented in @ref{Automatic syllable durations}. Setting
1851 @code{automaticMelismata} in the melody staff, will cause slurs to be
1852 interpreted as melismata. Lyric syllables must be interpreted within a
1853 @code{Lyrics} context in order to printing them.
1855 @lilypond[verbatim,singleline]
1856 \addlyrics \notes \relative c' {
1858 \property Staff.automaticMelismata = ##t
1861 \context Lyrics \lyrics {
1863 share the so -- ftware; }
1866 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1869 @cindex lyric extender
1872 As you can see, extender lines are entered as @code{__}. This will
1873 create an extender, a line that extends over the entire duration of the
1874 lyric. This line will run all the way to the start of the next lyric,
1875 so you may want to shorten it by using a blank lyric (using @code{_}).
1876 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1881 If you want to have hyphens centered between syllables (rather than
1882 attached to the end of the first syllable) you can use the special
1883 `@code{-}@code{-}' lyric as a separate word between syllables. This
1884 will result in a hyphen which length varies depending on the space
1885 between syllables, and which will be centered between the syllables.
1886 The grob for this symbol is @code{LyricsVoice.LyricHyphen}.
1888 @cindex Lyric hyphen
1890 @node Automatic syllable durations
1891 @subsection Automatic syllable durations
1892 @cindex Automatic syllable durations
1894 @cindex automatic lyric durations
1895 @cindex @code{\addlyrics}
1897 If you have lyrics that are set to a melody, you can import the rhythm
1898 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1901 \addlyrics @var{musicexpr1 musicexpr2}
1904 This means that both @var{musicexpr1} and @var{musicexpr2} are
1905 interpreted, but that every non-command atomic music expression
1906 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1907 of @var{musicexpr1}.
1908 @cindex @code{automaticMelismata}
1910 If the property @code{automaticMelismata} is set in the
1911 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1914 @lilypond[verbatim,fragment]
1917 \property Voice.automaticMelismata = ##t
1918 c8 () cis d8. e16 f2
1920 \context Lyrics \lyrics {
1924 If you want the lyric lines to be above the melody staff, or in some
1925 other, more complex configuration, then build that configuration first
1926 using simultaneous music, and use @code{\addlyrics} after that.
1928 @lilypond[verbatim, singleline]
1930 \context Lyrics = LA { s1 }
1931 \context Staff = SA { s1 }
1933 \context Staff = SA \relative c' { c4 e g g }
1934 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1937 For @code{\addlyrics} you should use a single rhythm melody, and single
1938 rhythm lyrics (a constant duration is the obvious choice). If you do
1939 not, you can get undesired effects when using multiple stanzas:
1941 @lilypond[verbatim,fragment]
1944 c8 () cis d8. e16 f2
1946 \context Lyrics \lyrics
1951 It is valid (but probably not very useful) to use notes instead of
1952 lyrics for @var{musicexpr2}.
1955 @subsection More stanzas
1959 If you have multiple stanzas printed underneath each other, the separate
1960 syllables should be aligned around punctuation. LilyPond can do this if
1961 you explain it which lyric lines belong to which melody.
1963 To this end, give the Voice context an identity, and set the LyricsVoice
1964 to name starting with that identity. In the following example, the Voice
1965 identity is @code{duet}, and the identities of the LyricsVoices are
1966 @code{duet-1} and @code{duet-2}.
1969 @lilypond[singleline,verbatim]
1972 \notes \relative c'' \context Voice = duet { \time 3/4;
1974 \lyrics \context Lyrics <
1975 \context LyricsVoice = "duet-1" {
1976 \property LyricsVoice . stanza = "Bert"
1977 Hi, my name is bert. }
1978 \context LyricsVoice = "duet-2" {
1979 \property LyricsVoice . stanza = "Ernie"
1980 Ooooo, ch\'e -- ri, je t'aime. }
1985 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1986 first system) and @code{LyricsVoice.stz} for the following systems.
1988 @cindex stanza numbering
1996 LilyPond has support for both entering and printing chords. Chords are
1997 a harmonic device that is characterized by a set of pitches. It is
1998 something different from simultaneous music, although you can express a
1999 chord using simultaneous music. In fact, chords are internally stored as
2000 simultaneous music expressions. This means you can enter chords by name,
2001 and print them as note head, or enter as notes and print as chord names:
2004 @lilypond[verbatim,singleline]
2005 twoWays = \notes \transpose c'' {
2015 < \context ChordNames \twoWays
2016 \context Staff \twoWays > }
2019 Note that this example also shows that the LilyPond chord does not
2020 attempt to be intelligent, if you enter @code{f bes d}, it does no
2021 attempt to find out whether it this is an inversion.
2025 * Printing named chords::
2030 @subsection Chords mode
2033 Chord mode is a mode where you can input sets of pitches using common
2034 names. It is introduced by the keyword @code{\chords}. It is similar
2035 to note mode, but words are also looked up in a chord modifier table
2036 (containing @code{maj}, @code{dim}, etc).
2038 Dashes and carets are used to indicate chord additions and subtractions,
2039 so articulation scripts can not be entered in Chord mode.
2041 The syntax for named chords is as follows:
2044 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2047 @var{tonic} should be the tonic note of the chord, and @var{duration}
2048 is the chord duration in the usual notation. There are two kinds of
2049 modifiers. One type is @emph{chord additions}, which are obtained by
2050 listing intervals separated by dots. An interval is written by its
2051 number with an optional @code{+} or @code{-} to indicate raising or
2052 lowering by half a step. Chord additions has two effects: It adds
2053 the specified interval and all lower odd numbered intervals to the
2054 chord, and it may lower or raise the specified interval. Intervals
2055 must be separated by a dot (@code{.}).
2057 Throughout these examples, chords have been shifted around the staff
2058 using @code{\transpose}.
2060 @lilypond[fragment,verbatim]
2064 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2074 The second type of modifier that may appear after the @code{:} is a
2075 named modifier. Named modifiers are listed in the file
2076 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2077 @code{min} which lower the 3rd half a step, `@code{aug}' which
2078 raises the 5th, `@code{dim}' which lowers the 5th,
2079 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2080 which replaces the 5th with a 4th.
2082 @lilypond[fragment,verbatim]
2085 c1:m c:min7 c:maj c:aug c:dim c:sus
2091 Chord subtractions are used to eliminate notes from a chord. The
2092 notes to be subtracted are listed after a @code{^} character,
2095 @lilypond[fragment,verbatim,center]
2104 Chord inversions can be specified by appending `@code{/}' and the name
2105 of a single note to a chord. In a chord inversion, the inverted note is
2106 transposed down until it is the lowest note in the chord. If the
2107 specified note is not in the chord, a warning will be printed.
2109 @lilypond[fragment,verbatim,center]
2119 Bass notes can be added by `@code{/+}' and
2120 the name of a single note to a chord. This has the effect of
2121 adding the specified note to the chord, lowered by an octave,
2122 so it becomes the lowest note in the chord.
2124 @lilypond[fragment,verbatim,center]
2136 @c . {Printing named chords}
2137 @node Printing named chords
2138 @subsection Printing named chords
2140 @cindex printing chord names
2143 @cindex @code{ChordNames}
2146 For displaying printed chord names, use the @code{ChordNames} context.
2147 The chords may be entered either using the notation described above, or
2148 directly using simultaneous music.
2150 @lilypond[verbatim,singleline]
2152 \chords {a1 b c} <d f g> <e g b>
2156 \context ChordNames \scheme
2157 \context Staff \transpose c'' \scheme
2162 You can make the chord changes stand out by setting property
2163 @code{ChordNames.chordChanges} to true. This will only display chord
2164 names when there's a change in the chords scheme and at the start of the
2169 c1:m \break c:m c:m c:m d
2174 \context ChordNames {
2175 \property ChordNames.chordChanges = ##t
2177 \context Staff \transpose c'' \scheme
2181 LilyPond examines chords specified as lists of notes to determine a name
2182 to give the chord. LilyPond will not try to identify chord inversions or
2183 an added bass note, which may result in strange chord names when chords
2184 are entered as a list of pitches:
2186 @lilypond[verbatim,center,singleline]
2195 \context ChordNames \scheme
2196 \context Staff \scheme
2202 By default LilyPond uses chord name system proposed by Harald Banter
2203 (See @ref{Literature}). The system is is unambiguous and has a logical
2204 structure. Typical American style chord names may be selected by
2205 setting the @code{style} property of the @code{ChordNames.ChordName}
2206 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2209 Routines that determine the names to be printed are written in Scheme,
2210 and may be customized by the user. The code can be found in
2211 @file{scm/chord-name.scm}. Here's an example showing the differences in
2215 @c maybe just junk verbatim option?
2216 @lilypond[verbatim,singleline]
2226 \context ChordNames = banter \scheme
2227 \context ChordNames = american {
2228 \property ChordNames.ChordName \override
2229 #'style = #'american \scheme }
2230 \context ChordNames = jazz {
2231 \property ChordNames.ChordName \override
2232 #'style = #'jazz \scheme }
2233 \context Staff \transpose c'' \scheme
2240 @section Writing parts
2242 Orchestral music involves some special notation, both in the full score,
2243 as in the individual parts. This section explains how to tackle common
2244 problems in orchestral music.
2251 * Instrument names::
2253 * Sound output for transposing instruments::
2254 * Multi measure rests::
2255 * Automatic part combining::
2256 * Hara-kiri staffs::
2259 @c . {Rehearsal marks}
2260 @node Rehearsal marks
2261 @subsection Rehearsal marks
2262 @cindex Rehearsal marks
2264 @cindex @code{\mark}
2265 @cindex @code{Mark_engraver}
2268 \mark @var{unsigned};
2273 With this command, you can print a rehearsal mark above the system. You
2274 can provide a number, a string or a markup text as argument. If there is
2275 no argument, the property @code{rehearsalMark} is used and automatically
2278 @lilypond[fragment,verbatim]
2284 c1 \mark #'(music "scripts-segno") ;
2290 @subsection Bar numbers
2292 Bar numbers are printed at the start of the line by default. This is
2293 done by the @code{Bar_number_engraver} in the Score context.
2297 It is currently not possible to make boxed bar numbers, or print them at
2301 @node Instrument names
2302 @subsection Instrument names
2304 You can specify an instrument name for a staff by setting
2305 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2306 before the start of the staff. For the first start, @code{instrument} is
2307 used, for the next ones @code{instr} is used.
2309 @lilypond[verbatim,singleline]
2311 \property Staff.instrument = "ploink " { c''4 } }
2313 \translator { \StaffContext
2314 \consists "Instrument_name_engraver"; } } }
2317 This requires that you add the @code{Instrument_name_engraver} to the
2318 staff context. You can also use markup texts to construct more
2319 complicated instrument names:
2322 @lilypond[verbatim,singleline]
2324 '((font-relative-size . -2 ) (music "accidentals--1")))
2327 \property Staff.instrument = #`((kern . 0.5) (lines
2328 "2 Clarinetti" (rows " (B" ,text-flat ")")))
2331 \translator { \StaffContext
2332 \consists "Instrument_name_engraver"; } } }
2338 When you put a name on a grand staff or piano staff (By adding an
2339 @code{Instrument_name_engraver} to that context and setting
2340 e.g. @code{\property GrandStaff.instrument}), the width of the brace is
2341 not taken into account. You must add extra spaces to the end of the name
2342 to avoid a collision.
2345 @subsection Transpose
2347 @cindex transposition of pitches
2348 @cindex @code{\transpose}
2350 A music expression can be transposed with @code{\transpose}. The syntax
2353 \transpose @var{pitch} @var{musicexpr}
2356 This means that middle C in @var{musicexpr} is transposed to
2359 @code{\transpose} distinguishes between enharmonic pitches: both
2360 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2361 a tone. The first version will print sharps and the second version
2364 @lilypond[fragment,verbatim]
2367 { \key e \major; c d e f }
2369 \transpose des'' { \key e \major; c d e f }
2370 \transpose cis'' { \key e \major; c d e f }
2374 If you want to use both @code{\transpose} and @code{\relative}, then
2375 you must use @code{\transpose} first. @code{\relative} will have no
2376 effect music that appears inside a @code{\transpose}.
2378 @node Sound output for transposing instruments
2379 @subsection Sound output transposing instruments
2381 When you want to play a score containing transposed and untransposed
2382 instruments, you have to instruct LilyPond the pitch offset (in
2383 semitones) for the transposed instruments. This is done using the
2384 @code{transposing} property. It does not affect printed output.
2386 @cindex @code{transposing}
2389 \property Staff.instrument = #"Cl. in B-flat"
2390 \property Staff.transposing = #-2
2394 @c . {Multi measure rests}
2395 @node Multi measure rests
2396 @subsection Multi measure rests
2397 @cindex Multi measure rests
2401 Multi measure rests are entered using `@code{R}'. It is specifically
2402 meant for entering parts: the rest can expand to fill a score with
2403 rests, or it can be printed as a single multimeasure rest This expansion
2404 is controlled by the property @code{Score.skipBars}. If this is set to true,
2405 Lily will not expand empty measures, and the appropriate number is added
2408 @lilypond[fragment,verbatim]
2409 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2412 Currently, there is no way to condense multiple rests into a single
2415 @cindex condensing rests
2417 @node Automatic part combining
2418 @subsection Automatic part combining
2419 @cindex automatic part combining
2420 @cindex part combiner
2422 Automatic part combining is used to merge two parts of music onto on
2423 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2424 and orchestral scores. When the two parts are identical for a period of
2425 time, only one is shown. In places where the two parts differ, stem
2426 directions are set automatically. Also, soli and @emph{a due} parts can be
2427 identified and marke.
2429 The syntax for part combining is
2432 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2435 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2436 combined into one context @var{context}. The context names of the music
2437 expressions must start with the prefixes @code{one} and @code{two}.
2439 The most useful function of the part combiner to combining threads into
2440 one voice, as common for wind parts in orchestral scores:
2442 @lilypond[verbatim,singleline,fragment]
2444 \context Voice=one \partcombine Voice
2445 \context Thread=one \relative c'' {
2448 \context Thread=two \relative c'' {
2454 Notice that the first @code{g} appears only once, although it was
2455 specified twice (once in each Thread). Also note that stem, slur and tie
2456 directions are set automatically, depending whether there is a solo or
2457 unisono. The Thread called @code{one} always gets up stems, and "solo",
2458 while @code{two} always gets down stems and "Solo II".
2460 If you just want the splitting of Threads and setting of directions, and
2461 not the textual markings, you may set the property @var{soloADue} to
2462 false. This mode can be used to set hymns:
2464 @lilypond[verbatim,singleline,fragment]
2466 \property Staff.soloADue = ##f
2467 \context Voice=one \partcombine Voice
2468 \context Thread=one \relative c'' {
2471 \context Thread=two \relative c'' {
2477 There are a number of other properties that you can use to tweak
2478 the behavior of part combining, refer to the automatically generated
2479 documentation. Look for @code{Thread_devnull_engraver}
2480 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2484 In @code{soloADue} mode, when the two voices play the same notes on and
2485 off, the part combiner may typeset @code{a2} more than once in a
2488 @lilypond[fragment,singleline]
2490 \context Voice=one \partcombine Voice
2491 \context Thread=one \relative c'' {
2494 \context Thread=two \relative c'' {
2500 @cindex @code{Thread_devnull_engraver}
2501 @cindex @code{Voice_engraver}
2502 @cindex @code{A2_engraver}
2504 @node Hara-kiri staffs
2505 @subsection Hara-kiri staffs
2507 In orchestral scores, staffs that only have rests are usually removed.
2508 This saves some space. LilyPond also supports this through the
2509 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2510 of the Japanese Samourai warriors.} staff. This staff commits suicide
2511 when it finds itself to be empty after the line-breaking process---note
2512 that it will not disappear when it contains normal rests, you must use
2513 multi measure rests.
2515 The hara kiri staff is specialized version of the Staff context. It is
2516 available as the context identifier @code{\HaraKiriStaffContext}.
2517 Observe how the second staff in this example disappears in the second
2522 \notes \relative c' <
2523 \context Staff = SA { e4 f g a \break c1 }
2524 \context Staff = SB { c4 d e f \break R1 }
2528 \translator { \HaraKiriStaffContext }
2541 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2542 staff context symbol that appears at the end of a staff line. It
2543 anticipates the pitch of the first note(s) of the following line and
2544 thus helps the player or singer to manage line breaks during
2545 performance, thus enhancing readability of a score.
2549 \notes { c'1 d' e' d' \break c' d' e' d' }
2553 \consists Custos_engraver;
2554 Custos \override #'style = #'mensural;
2560 Custodes were frequently used in music notation until the 16th century.
2561 There were different appearences for different notation styles.
2562 Nowadays, they have survived only in special forms of musical notation
2563 such as via the @emph{editio vaticana} dating back to the beginning of
2566 For typesetting custodes, just put a @code{Custos_engraver} into the
2567 @code{StaffContext} when declaring the @code{\paper} block. In this
2568 block, you can also globally control the appearance of the custos symbol
2569 by setting the custos @code{style} property. Currently supported styles
2570 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2577 \consists Custos_engraver;
2578 Custos \override #'style = #'mensural;
2583 The property can also be set locally, for example in a @code{\notes}
2588 \property Staff.Custos \override #'style = #'vaticana
2589 c'1 d' e' d' \break c' d' e' d'
2593 @c . {Tuning output}
2595 @section Tuning output
2597 LilyPond tries to take as much formatting as possible out of your
2598 hands. Nevertheless, there are situations where it needs some help, or
2599 where you want to override its decisions. In this section we discuss
2600 ways to do just that.
2602 Notation output is specified in so called grobs (graphic objects). Each
2603 grob carries with it a set of properties (grob properties) specific to
2604 that object. For example, a stem grob has properties that specify its
2605 direction, length and thickness.
2608 The most common way of tuning the output is to alter the values of these
2609 properties. There are two ways of doing that: first, you can temporarily
2610 change the definition of a certain type of grob, thus affecting a whole
2611 set of objects. Second, you can select one specific object, and set a
2615 * Tuning groups of grobs ::
2616 * Tuning per grob ::
2624 @node Tuning groups of grobs
2625 @subsection Tuning groups of grobs
2627 @cindex grob description
2629 A grob definition is a Scheme association list, that is stored in a context
2630 property. By assigning to that property (using plain @code{\property}),
2631 you can change the resulting grobs.
2633 @lilypond[verbatim, fragment]
2634 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2637 The @code{\property} assignment effectively empties the definition of
2638 the Stem object. One of the effects is that property specifying how it
2639 should be printed is erased, with the effect of rendering it invisible.
2640 The above assignment is available as a standard identifier, lest you
2643 @c FIXME: doesn't work well for eg StaffSymbol
2645 \property Voice.Stem = \turnOff
2652 This mechanism is fairly crude, since you can only set, but not modify,
2653 the definition of a grob. For this reason, there is a more advanced
2654 mechanism: you can add a property on top of an existing definition, or
2655 remove a property: @code{\override} adds a settings, @code{\revert}
2656 removes that setting.
2659 c'4 \property Voice.Stem \override #'thickness = #4.0
2660 c'4 \property Voice.Stem \revert #'thickness
2664 For the digirati, the grob description is an Scheme association
2665 list. Since it is singly linked, we can treat it as a stack, and
2666 @code{\override} and @code{\revert} are just push and pop
2667 operations. This pushing and popping is also used for overriding automatic
2670 If you revert a setting which was not set in the first place, then it
2671 has no effect. However, if the setting was set as a system default, it
2672 may remove the default value, and this may give surprising results,
2673 including crashes. In other words, if you use @code{\override} and
2674 @code{\revert}, be sure to balance the overrides and reverts.
2676 If balancing them is too much work, use the @code{\set} shorthand. It
2677 performs a revert followed by an override:
2679 \property Voice.Stem \set #'thickness = #2.0
2682 Formally the syntax for these constructions is
2684 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2685 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2686 \property @var{context}.@var{grobname} \revert @var{symbol}
2688 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2689 and @var{grobname} are strings and @var{value} is a Scheme expression.
2692 Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
2696 \override \set \set \set \set
2700 This is always correct, but if you know the default value, you can also use
2703 \set @var{to default value}
2706 If there is no default (i.e. by default, the grob property is unset),
2709 \set \set \set \set \set
2716 LilyPond will hang or crash if @var{value} contains cyclic references.
2717 The backend is not very strict in type-checking grob properties. If you
2718 @code{\revert} properties that are expected to be set by default,
2723 @node Tuning per grob
2724 @subsection Tuning per grob
2726 @cindex \outputproperty
2728 A second way of tuning grobs is the more arcane @code{\outputproperty}
2730 Syntax is as follows
2732 \outputproperty @var{predicate} @var{symbol} = @var{value}
2734 Here @code{predicate} is a Scheme function taking a grob argument, and
2735 returning a boolean. This statement is processed by the
2736 @code{Output_property_engraver}. It instructs the engraver to feed all
2737 grobs that it sees to @var{predicate}. Whenever the predicate returns
2738 true, the grob property @var{symbol} will be set to @var{value}.
2740 You will need to combine this statement with @code{\context} to select
2741 the appropriate context to apply this to.
2743 If possible, avoid this feature: the semantics are not very clean, and
2744 the syntax and semantics are up for rewrite.
2746 Here are some random examples:
2748 @lilypond[fragment,verbatim,singleline]
2750 \context Staff \outputproperty
2751 #(make-type-checker 'note-head-interface)
2752 #'extra-offset = #'(0.5 . 0.75)
2756 @cindex @code{extra-offset}
2758 This selects all note heads occurring at current staff level, and sets
2759 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2762 Move the text "m.d.", but not the fingering instruction "2".
2763 @lilypond[verbatim,singleline]
2764 #(define (make-text-checker text)
2765 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2768 \notes\relative c''' {
2769 \property Voice.Stem \set #'direction = #1
2770 \outputproperty #(make-text-checker "m.d.")
2771 #'extra-offset = #'(-3.5 . -4.5)
2781 @subsection What to tune?
2783 This all tells you how to tune grobs, but what variables are there? The
2784 question is not answered in this manual (although you may encounter
2787 Grob properties are tied directly to the implementation of LilyPond, and
2788 they are thus a moving target. Documentation of such variables are part
2789 of the generated documentation: this documentation is generated from the
2790 sourcecode of lily for each version, so it is usually mch more up to
2791 date than this manual. It should be available from the same place where
2792 you got this manual.
2794 To decide how to tune a grob, you need to find the following information
2797 which grob to modify
2799 which property to modify
2801 which context the grob comes from.
2804 Included with the automatically generated documentation is a master list
2805 of grobs. Each one can be clicked, taking you to a overview of the
2806 available properties.
2808 There is also a master list of contexts. Clicking each takes you to an
2809 overview of the context, listing which grob types are created there.
2812 @node Font selection
2813 @subsection Font selection
2815 Most graphics in LilyPond are composed of characters of fonts. You can
2816 alter the characteristics of the font by setting certain grob
2817 properties. The mechanism that is used for this resembles LaTeX's New
2818 Font Selection Scheme. Within this scheme, a font is entirely
2819 characterized by its font name.
2821 For each grob that uses fonts (in other words, each grob that supports
2822 @code{font-interface}) a font-name must be selected before it can be
2823 printed. The font name is selected by looking at a number of grob
2828 The general class of the typeface. Supported are roman (Computer
2829 Modern), braces (for piano staff braces), music (the standard music
2830 font), dynamic (font for dynamic signs) and typewriter
2833 A symbol indicating the shape of the font, a finer gradation than
2834 font-family. Choices are italic and upright
2836 Symbol indicating the serie of the font. Series form a finer gradation
2837 than font-shape. Choices are medium and bold.
2839 @item font-relative-size
2840 A number indicating the size relative the standard size. For example,
2841 with 20pt staff height, relative size -1 corresponds to 16pt staff
2842 height, and relative size +1 corresponds to 23 pt staff height.
2844 @item font-design-size
2845 A number indicating the design size of the font.
2847 This is a feature of the Computer Modern Font: each point size has a
2848 slightly different design. Smaller design sizes are relatively wider,
2849 which enhances readability. Scalable type faces such TrueType and Adobe
2850 Type1 usually come as ``one design fits all sizes''.
2853 The name of the font, without the design size, eg. @code{cmr},
2854 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2859 The font is selected by taking the first font that satisfies all
2860 qualifiers specified. You can override any of these fields through
2861 @code{\override} and @code{\revert}. The special value @code{*} matches
2862 any value for that qualifier.
2865 \property Lyrics.LyricText \override #'font-series = #'bold
2866 \property Lyrics.LyricText \override #'font-shape = #'*
2869 @cindex @code{font-style}
2871 There are also pre-cooked font selection qualifiers. These are selected
2872 through the grob property @code{font-style}. For example, the style
2873 @code{finger} selects family @code{number} and relative size @code{-3}.
2874 Styles available include: volta, finger, tuplet, timesig, mmrest,
2875 script, large, Large and dynamic.
2877 The style sheets and tables for selecting fonts are located in
2878 @file{scm/font.scm}. Refer to this file for more information.
2882 Relative size is not linked to any real size. There is no mechanism to
2883 select magnifications of fonts, meaning that you can not scale fonts
2884 continuoussly. There is no style sheet provided for other fonts besides
2887 @cindex font selection
2888 @cindex font magnification
2889 @cindex @code{font-interface}
2893 @subsection Text markup
2897 LilyPond has an internal mechanism to typeset texts. You can
2898 form text markup expressions by composing scheme expressions
2899 in the following way.
2901 @lilypond[verbatim, singleline]
2906 c^#'(italic "italic")
2907 d_#'((bold italic) "ff")
2909 f_#'(lines "one" (bold "two"))
2910 g^#'(music "noteheads-2" "flags-u3")
2914 Normally, the Scheme markup text is stored in the @code{text} property
2915 of a grob. Formally, it is defined as follows:
2918 text: string | (head? text+)
2919 head: markup | (markup+)
2920 markup-item: property | abbrev
2921 property: (@var{key} . @var{value})
2922 abbrev: @code{rows lines roman music bold italic named super sub text}
2923 @code{finger volta timesig mmrest mark script large Large dynamic}
2926 The markup is broken down and converted into a list of grob properties,
2927 which are prepended to the property list. The @var{key}-@var{value}
2928 pair is a grob property.
2930 The following abbreviations are currently defined:
2934 horizontal mode: set all text on one line (default)
2936 vertical mode: set every text on new line
2946 lookup by character name
2948 plain text lookup (by character value)
2954 select fingering number fontstyle
2956 select volta number fontstyle
2958 select time signature number fontstyle
2960 select multi measure rest number fontstyle
2962 select mark number fontstyle
2964 select scriptsize roman fontstyle
2966 select large roman fontstyle
2968 select Large roman fontstyle
2970 select dynamics fontstyle
2973 It is possible to use @TeX{} commands in the strings, but this should be
2974 avoided because this makes it impossible for LilyPond to compute the
2975 exact length of the string, which may lead to collisions. Also, @TeX{}
2976 commands won't work with direct PostScript output (see @ref{PostScript
2979 @cindex metronome mark
2981 One practical application of complicated markup is to fake a metronome
2985 #(define note '(rows
2986 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
2987 #(define eight-note `(rows ,note ((kern . -0.1)
2988 (music ((raise . 3.5) "flags-u3")))))
2989 #(define dotted-eight-note
2990 `(rows ,eight-note (music "dots-dot")))
2993 \notes\relative c'' {
2994 a1^#`((rows (font-relative-size . -1)) ,dotted-eight-note " = 64")
3000 TextScript \override #'font-shape = #'upright
3006 @node Invisible grobs
3007 @subsection Invisible grobs
3008 @cindex invisible grobs
3010 You can imagine a number of situtations where you would want to make
3011 certain grobs not show up in the output. There may be aesthetic
3012 reasons, to make the output resemble an (old) manuscript as close as
3013 possible, or to make lessons or exercises for students.
3015 Grobs can be made invisible in a number of ways:
3020 Move \turnOff feature here and explain why it doesn't work for eg
3023 Show molecule-callback override
3024 StaffSymbol \override #'molecule-callback = #(lambda (x) '())
3026 Show visibility-lambda and explain why it doesn't work for eg
3030 Here's an example with blanked-out notes and stems:
3031 @lilypond[singleline,verbatim]
3033 \property Voice.NoteHead \override
3034 #'molecule-callback = #(lambda (x) '())
3035 \property Voice.Stem \override
3036 #'molecule-callback = #(lambda (x) '()) }
3039 \property Voice.NoteHead \revert #'molecule-callback
3040 \property Voice.Stem \revert #'molecule-callback }
3043 \notes\relative c'' {
3045 a b c b \blanknotes c \unblanknotes d
3050 Some grobs require a special treatment.
3052 Rhythm exercise: make staff invisible and squash pitches:
3053 @lilypond[singleline,verbatim]
3055 \notes { \time 3/4; c4 c c8 c | c4 c c8 c }
3059 \remove Staff_symbol_engraver;
3060 \consists Pitch_squash_engraver;
3061 \remove Clef_engraver;
3067 Some modern music does not show bar lines:
3068 @lilypond[singleline,verbatim]
3070 \notes \relative c'' {
3078 \remove "Time_signature_engraver";
3086 @subsection Embeded TeX
3087 @cindex embedded tex
3088 @cindex embedded tex
3090 You can use @TeX{} commands in text scripts, but this should be avoided
3091 because this makes it impossible for LilyPond to compute the exact
3092 length of the string, which may lead to collisions. Also, @TeX{}
3093 commands won't work with direct PostScript output (see @ref{PostScript
3096 @lilypond[fragment,relative,verbatim]
3097 a''^"3 $\\times$ \\`a deux"
3100 @subsection Embedded PostScript
3101 @cindex embedded postscript
3102 @cindex embedded postscript
3104 You can also use raw PostScript commands embedded in text scripts. This
3105 offers ultimate flexibitily, but you'll have to learn the arcane
3106 PostScript language. Currently, embedded PostScript will @strong{not}
3107 work with direct PostScript output. Note that all dimensions that you
3108 use are in @code{staff-space}s.
3112 \notes \relative c'' {
3113 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3114 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3115 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3119 \paper { linewidth = 70 * \staffspace; }
3126 @section Page layout
3140 @subsection Paper block
3143 The most important output definition is the @code{\paper} block, for
3144 music notation. The syntax is
3147 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3150 where each of the items is one of
3153 @item An assignment. The assignment must be terminated by a
3156 @item A context definition. See @ref{Notation Contexts} for
3157 more information on context definitions.
3159 @item \stylesheet declaration. Its syntax is
3161 \stylesheet @var{alist}
3164 See @file{scm/font.scm} for details of @var{alist}.
3165 @item an \elementdescriptions declaration.
3167 \elementdescriptions @var{alist}
3169 See @file{scm/grob-description.scm} for details of @var{alist}.
3173 @c . {Paper variables}
3174 @node Paper variables
3175 @subsection Paper variables
3176 @cindex Paper variables
3178 The paper block has some variables you may want to use or change:
3181 @cindex @code{indent}
3183 The indentation of the first line of music.
3184 @cindex @code{staffspace}
3186 @item @code{staffspace}
3187 The distance between two staff lines, calculated from the center
3188 of the lines. If you want scale independent output, then you should
3189 use either this or @code{stafflinethickness}
3190 as a unit for distances you modify.
3192 @cindex @code{linewidth}
3193 @item @code{linewidth}
3194 Sets the width of the lines.
3196 If set to a negative value, a single unjustified line is produced.
3197 @c rename to singleLinePaper ?
3198 The shorthand @code{\singleLine} defines a default paper block that
3199 produces a single line.
3201 @cindex @code{textheight}
3203 @item @code{textheight}
3204 Sets the total height of the music on each page. Only used by
3207 @cindex @code{interscoreline}
3209 @item @code{interscoreline}
3210 Sets the spacing between systems.
3212 @cindex @code{interscorelinefill}
3216 @item @code{interscorelinefill}
3217 If set to a positive number, the distance between the score
3218 lines will stretch in order to fill the full page. In that
3219 case @code{interscoreline} specifies the minimum spacing.
3224 @cindex @code{stafflinethickness}
3226 @item @code{stafflinethickness}
3227 Determines the thickness of staff lines, and also acts as a scaling
3228 parameter for other line thicknesses.
3235 @subsection Font size
3238 The Feta font provides musical symbols at six different sizes. These
3239 fonts are 11 point, 13 point, 16 point, 20 point,
3240 23 point, and 26 point. The point size of a font is the
3241 height of the five lines in a staff when displayed in the font.
3243 Definitions for these sizes are the files @file{paperSZ.ly}, where
3244 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3245 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3246 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3247 @code{paperTwentysix} are defined respectively. The default
3248 @code{\paper} block is also set.
3250 The font definitions are generated using a Scheme function. For more
3251 details, see the file @file{font.scm}.
3257 @subsection Paper size
3262 @cindex @code{papersize}
3264 To change the paper size, you must first set the
3265 @code{papersize} variable at top level. Set it to
3266 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3267 specification, you must set the font as described above. If you want
3268 the default font, then use the 20 point font. The new paper size will
3269 not take effect if the font is not loaded and selected afterwards.
3273 \include "paper16.ly"
3277 \paper @{ \paperSixteen @}
3281 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3282 will set the paper variables @code{hsize} and @code{vsize} (used by
3293 @subsection Line break
3296 @cindex breaking lines
3298 Line breaks are normally computed automatically. They are chosen such
3299 that the resulting spacing has low variation, and looks neither cramped
3302 Occasionally you might want to override the automatic breaks; you can do
3303 this by specifying @code{\break}. This will force a line break at this
3304 point. Do remember that line breaks can only occur at places where there
3305 are barlines. If you want to have a line break where there is no
3306 barline, you can force an invisible barline by entering @code{\bar "";}.
3308 Similarly, @code{\noBreak} forbids a line break at a certain point.
3310 @cindex @code{\penalty}
3312 The @code{\break} and @code{\noBreak} commands are defined in terms of
3313 the penalty command:
3315 \penalty @var{int} @code{;}
3318 This encourages or discourages LilyPond to make a line break at this
3323 The scaling of the @code{\penalty} argument is not well-defined. The
3324 command is rather kludgy, and slated for rewriting.
3328 @subsection Page break
3331 @cindex breaking pages
3334 Page breaks are normally computed by @TeX{}, so they are not under
3335 direct control of LilyPond. However, you can insert a commands into the
3336 @file{.tex} output to instruct @TeX{} where to break pages. For more
3337 details, see the example file @file{input/test/between-systems.ly}
3340 @c . {Output formats}
3341 @node Output formats
3342 @section Output formats
3344 LilyPond can output processed music in different output formats.
3348 * PostScript output::
3350 * ASCIIScript output::
3354 @subsection TeX output
3357 LilyPond will use @TeX{} by default. Even if you want to produce
3358 PostScript output for viewing or printing, you should normally have
3359 LilyPond produce @TeX{} first. The .tex output must be processed by
3360 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3361 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3362 used to generate the .dvi for you.
3365 @node PostScript output
3366 @subsection PostScript output
3367 @cindex PostScript output
3368 @cindex direct PostScript output
3370 LilyPond can produce PostScript directly, without going through @TeX{}.
3371 Currently, this is mainly useful if you cannot use TeX, because direct
3372 PostScript output has some problems; see Bugs below.
3375 $ lilypond -fps foo.ly
3376 GNU LilyPond 1.3.144
3377 Now processing: `foo.ly'
3379 Interpreting music...[3]
3380 Preprocessing elements...
3381 Calculating column positions...
3382 paper output to foo.ps...
3384 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3390 Text font selection is broken.
3392 The .ps file does not contain the .pfa font files. To print a .ps
3393 created through direct postscript output, you should prepend the
3394 necessary .pfa files to LilyPond's .ps output, or upload them to the
3395 printer before printing.
3397 Titling is not generated. FIXME: adding titling should not be too
3402 @subsection Scheme output
3403 @cindex Scheme output
3408 $ lilypond -fscm foo.ly
3409 GNU LilyPond 1.3.144
3410 Now processing: `foo.ly'
3412 Interpreting music...[3]
3413 Preprocessing elements...
3414 Calculating column positions...
3415 paper output to foo.scm...
3418 ;;; Usage: guile -s x.scm > x.tex
3419 (primitive-load-path 'standalone.scm)
3423 $ guile -s foo.scm > foo.tex
3427 @node ASCIIScript output
3428 @subsection ASCIIScript output
3429 @cindex ASCIIScript output
3430 @cindex ascii script
3433 LilyPond can output ASCII Art. This is a two step process, LilyPond
3434 produces an ASCII description file, dubbed ASCIIScript (extension
3435 @file{.as}). ASCIIScript has a small and simple command set that
3436 includes font selection, character and string printing and line drawing
3437 commands. The program @file{as2text} is used to translate an .as file
3440 To produce ASCII Art, you must include an ASCII Art paper definition
3441 file in your .ly, one of:
3443 \include "paper-as5.ly"
3444 \include "paper-as9.ly"
3447 Here's an example use for ASCII Art output (the example file
3448 @file{as-email.ly} is included in the LilyPond distribution), the staff
3449 symbol has been made invisible:
3452 To: bug-gnu-music@@gnu.org
3453 Subject: LilyPond-1.3.144 beaming broken in 5/8 time
3458 Subject says it all.
3460 $ lilypond -fas as-email.ly
3461 GNU LilyPond 1.3.144
3462 Now processing: `as-email.ly'
3464 Interpreting music...[3]
3465 Preprocessing elements...
3466 Calculating column positions... [2]
3467 paper output to as-email.as...
3469 $ as2text as-email.as 2>/dev/null
3471 |/ |##|##| | | | | |
3472 /| | | | | |\ |\ |\ |\ |\ |
3473 / |_ 3 | | | | 5 | )| )| )| )| )|
3474 | /| \ 8 * * * | 8 * * * * * |
3484 The ASCII Art fonts are far from complete and not very well designed.
3485 It's easy to change the glyphs, though; if you think you can do better,
3486 have a look at @file{mf/*.af}.
3488 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3490 The poor looks of most ASCII Art output and its limited general
3491 usefulness make that ASCII Art output has a low priority; it may be
3492 dropped in future versions.
3499 LilyPond can produce MIDI output. The performance lacks lots of
3500 interesting effects, such as swing, articulation, slurring, etc., but it
3501 is good enough for proof-hearing the music you have entered. Ties,
3502 dynamics and tempo changes are interpreted.
3504 The MIDI volume is composed of two elements: the current dynamics of the
3505 voice and the type of musical instrument.
3507 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3508 levels. Dynamic marks translate to a fixed fraction of the available
3509 MIDI volume range, crescendi and decrescendi make the the volume vary
3510 linearly between their two extremities. The fractions be adjusted by
3511 overriding the @code{absolute-volume-alist} defined in
3512 @file{scm/midi.scm}.
3514 For each type of musical instrument (that MIDI supports), a volume range
3515 can be defined. This gives you basic equaliser control, which can
3516 enhance the quality of the MIDI output remarkably. You can add
3517 instruments and ranges or change the default settings by overriding
3518 the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
3522 It is currently not possible to use the percussion channel (generally
3523 channel 10 of a MIDI file).
3527 * MIDI instrument names::
3532 @subsection MIDI block
3536 The MIDI block is analogous to the paper block, but it is somewhat
3537 simpler. The @code{\midi} block can contain:
3541 @item a @code{\tempo} definition
3542 @item context definitions
3545 Assignments in the @code{\midi} block are not allowed.
3549 @cindex context definition
3551 Context definitions follow precisely the same syntax as within the
3552 \paper block. Translation modules for sound are called performers.
3553 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3556 @node MIDI instrument names
3557 @subsection MIDI instrument names
3559 @cindex instrument names
3560 @cindex @code{Staff.midiInstrument}
3561 @cindex @code{Staff.instrument}
3563 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3564 property or, if that property is not set, the @code{Staff.instrument}
3565 property. The instrument name should be chosen from the list in
3566 @ref{MIDI instruments}.
3570 If the selected string does not exactly match, then LilyPond uses the
3571 default piano. It is not possible to select an instrument by number.
3583 @section Music entry
3591 One of the applications of LilyPond is to enter music from existing
3592 written or printed material. When you're doing this kind of copying
3593 work, you can easily make mistakes. This section deals with tricks and
3594 features that help you enter music, and find and correct mistakes.
3598 @subsection Relative
3600 @cindex relative octave specification
3602 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3603 When you copy existing music, it is easy to accidentally put a pitch in
3604 the wrong octave and hard to find such an error. To prevent these
3605 errors, LilyPond features octave entry.
3607 @cindex @code{\relative}
3609 \relative @var{startpitch} @var{musicexpr}
3612 The octave of notes that appear in @var{musicexpr} are calculated as
3613 follows: If no octave changing marks are used, the basic interval
3614 between this and the last note is always taken to be a fourth or less.
3615 The octave changing marks @code{'} and @code{,} can then
3616 be added to raise or lower the pitch by an extra octave. Upon entering
3617 relative mode, an absolute starting pitch must be specified that will
3618 act as the predecessor of the first note of @var{musicexpr}.
3620 This distance is determined without regarding accidentals: a
3621 @code{fisis} following a @code{ceses} will be put above the
3624 Entering music that changes octave frequently is easy in relative mode.
3625 @lilypond[fragment,singleline,verbatim,center]
3631 And octave changing marks are used for intervals greater than a fourth.
3632 @lilypond[fragment,verbatim,center]
3634 c g c f, c' a, e'' }
3637 If the preceding item is a chord, the first note of the chord is used
3638 to determine the first note of the next chord. But other notes
3639 within the second chord are determined by looking at the immediately
3642 @lilypond[fragment,verbatim,center]
3649 @cindex @code{\notes}
3651 The pitch after the @code{\relative} contains a notename. To parse
3652 the pitch as a notename, you have to be in note mode, so there must
3653 be a surrounding @code{\notes} keyword (which is not
3656 The relative conversion will not affect @code{\transpose},
3657 @code{\chords} or @code{\relative} sections in its argument. If you
3658 want to use relative within transposed music, you must place an
3659 additional @code{\relative} inside the @code{\transpose}.
3664 @subsection Bar check
3668 @cindex @code{barCheckNoSynchronize}
3672 Whenever a bar check is encountered during interpretation, a warning
3673 message is issued if it doesn't fall at a measure boundary. This can
3674 help you find errors in the input. Depending on the value of
3675 @code{barCheckNoSynchronize}, the beginning of the measure will be
3676 relocated, so this can also be used to shorten measures.
3678 A bar check is entered using the bar symbol, @code{|}
3680 @c . {Point and click}
3681 @node Point and click
3682 @subsection Point and click
3684 Point and click lets you find notes in the input by clicking on them in
3685 the Xdvi window. This makes it very easy to find input that causes some
3686 error in the sheet music.
3688 To use it, you need the following software
3692 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3693 Xdvi} version 22.36 or newer.
3695 Note that most @TeX{} distributions ship with xdvik, which is a
3696 different and less well maintained program. To find out which xdvi you
3697 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3701 Add one of these lines to the top of your .ly file. The first one is for
3702 line location only. The second one is more convenient, but requires
3703 patching @code{emacsclient} and @code{server.el}.
3706 #(set! point-and-click line-location)
3707 #(set! point-and-click line-column-location)
3710 In the emacs startup file (usually @file{~/.emacs}), add the following
3715 If you want emacs to jump to the exact spot (and not just the line) on a
3716 click, you must enable column positioning. To do so, you need to patch
3717 emacsclient. Apply @file{emacsclient.patch} (included with the source
3718 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3719 source code. Recompile and stick the recompiled emacsclient into a bin
3720 directory, and put @file{server.el} into a elisp directory
3721 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3722 init file, before invoking server-start.
3725 (setq load-path (cons "~/usr/share/emacs" load-path))
3729 Xdvi must be configured to use the emacs editor. Before starting, set
3730 the environment variable @code{XEDITOR} to one of these strings. The
3731 second one, that also specifies the column, only works if you have
3732 patched your emacsclient and server, and have compiled your @code{.ly}
3733 file using the @code{line-column-location} setting (see above).
3735 emacsclient --no-wait +%l %f
3736 emacsclient --no-wait +%l:%c %f
3738 Xdvi also must be configured to find the fonts. Refer to the
3739 xdvi documentation for more information.
3741 When viewing, control-mousebutton 1 will take you to the originating
3742 line and column. Control-mousebutton 2 will show all clickable boxes.
3746 When you convert the TeX file to PostScript using dvips, dvips
3747 will complain about not finding @code{src:X:Y} files. Those complaints are
3748 harmless, and can be ignored.
3750 When using @code{line-colum-location}, the cursor will be one off; it
3751 will not jump to the exact note that you clicked, but to the next one.
3752 We hope to fix this before 1.4.
3754 @node Skipping corrected music
3755 @section Skipping corrected music
3757 The property @code{Score.skipTypesetting} can be used to switch on and
3758 off typesetting completely during the interpretation phase. When
3759 typesetting is switched off, the music is processed much more quickly.
3760 You can use this to skip over the parts of a score that you have already
3763 @lilypond[fragment,singleline,verbatim]
3764 \relative c'' { c8 d
3765 \property Score.skipTypesetting = ##t
3767 \property Score.skipTypesetting = ##f
3772 @node Interpretation context
3773 @section Interpretation context
3776 * Notation Contexts::
3777 * Creating contexts::
3778 * Default contexts::
3779 * Context properties::
3780 * Changing context definitions::
3781 * Defining new contexts::
3785 @c . {Notation Contexts}
3786 @node Notation Contexts
3787 @subsection Notation Contexts
3789 @cindex notation contexts
3791 Notation contexts are objects that only exist during a run of LilyPond.
3792 During the interpretation phase of LilyPond (when it prints
3793 "interpreting music"), the music expresiion in a @code{\score} block is
3794 interpreted in time order. This is the same order that humans hear and
3797 During this interpretation, the notation context is holds the state for
3798 the current point within the music. It contains information like
3801 @item What notes are playing at this point?
3802 @item What symbols will be printed at this point?
3803 @item What is the current key signature, time signature, point within
3807 Contexts are grouped hierarchically: A @code{Voice} context is
3808 contained in a @code{Staff} context (because a staff can contain
3809 multiple voices at any point), a @code{Staff} context is contained in
3810 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3811 these can all contain multiple staffs).
3814 Contexts associated with sheet music output are called @emph{notation
3815 contexts}, those for sound output are called performance contexts.
3818 @node Creating contexts
3819 @subsection Creating contexts
3821 @cindex @code{\context}
3822 @cindex context selection
3824 Contexts for a music expression can be selected manually, using the
3825 following music expression.
3828 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3831 This instructs lilypond to interpret @var{musicexpr} within the context
3832 of type @var{contexttype} and with name @var{contextname}. If this
3833 context does not exist, it will be created.
3835 @lilypond[verbatim,singleline]
3837 \notes \relative c'' {
3838 c4 <d4 \context Staff = "another" e4> f
3844 In this example, the @code{c} and @code{d} are printed on the
3845 default staff. For the @code{e}, a context Staff called
3846 @code{another} is specified; since that does not exist, a new
3847 context is created. Within @code{another}, a (default) Voice context
3848 is created for the @code{e4}. When all music referring to a
3849 context is finished, the context is ended as well. So after the
3850 third quarter, @code{another} is removed.
3854 @node Default contexts
3855 @subsection Default contexts
3857 Most music expressions don't need @code{\context}: they inherit the
3858 notation context from their parent. Each note is a music expression, and
3859 as you can see in the following example, only the sequential music
3860 enclosing the three notes has an explicit context.
3862 @lilypond[verbatim,singleline]
3863 \score { \notes \context Voice = goUp { c'4 d' e' } }
3866 There are some quirks that you must keep in mind when dealing with
3869 First, every top-level music is interpreted by the Score context, in other
3870 words, you may think of @code{\score} working like
3873 \context Score @var{music}
3877 Second, sequential music follows the contexts of its
3878 ``children''. Consider the following example.
3880 @lilypond[verbatim, singleline]
3881 \score { \context Score \notes { c'4 ( d' )e' } }
3884 The sequential music is interpreted by the Score context initially
3885 (notice that the @code{\context} specification is redundant), but when a
3886 note is encountered, contexts are setup to accept that note. In this
3887 case, a Thread, Voice and Staff are created. The rest of the sequential
3888 music is also interpreted with the same Thread, Voice and Staff context,
3889 putting the notes on the same staff, in the same voice.
3891 This is a convenient mechanism, but do not expect opening chords to work
3892 without @code{\context}. For every note, a separate staff is
3895 @lilypond[verbatim, singleline]
3896 \score { \notes <c'4 es'> }
3899 Of course, if the chord is preceded by a normal note in sequential
3900 music, the chord will be interpreted by the Thread of the preceding
3902 @lilypond[verbatim,singleline]
3903 \score { \notes { c'4 <c'4 es'> } }
3908 @node Context properties
3909 @subsection Context properties
3911 Notation contexts can be modified from within the @file{.ly} file. The
3912 following music expression does that job:
3914 @cindex @code{\property}
3916 \property @var{contextname}.@var{propname} = @var{value}
3919 Sets the @var{propname} property of the context @var{contextname} to the
3920 specified Scheme expression @var{value}. All @var{propname} and
3921 @var{contextname} are strings, which are typically unquoted.
3923 Properties that are set in one context are inherited by all of the
3924 contained contexts. This means that a property valid for the
3925 @code{Voice} context can be set in the @code{Score} context (for
3926 example) and thus take effect in all @code{Voice} contexts.
3928 Properties can be unset using the following expression:
3930 \property @var{contextname}.@var{propname} \unset
3933 This removes the definition of @var{propname} in @var{contextname}. If
3934 @var{propname} was not defined in @var{contextname} (but was inherited
3935 from a higher context), then this has no effect.
3940 @code{\property \unset} is not the inverse of @code{\property \set}
3945 @c . {Context definitions}
3946 @node Changing context definitions
3947 @subsection Changing context definitions
3949 @cindex context definition
3950 @cindex translator definition
3952 The most common way to define a context is by extending an existing
3953 context. You can change an existing context from the paper block, by
3954 first initializing a translator with an existing context identifier:
3958 @var{context-identifier}
3961 Then you can add engravers, remove engravers.
3962 The syntax for these operations are respectively
3964 \remove @var{engravername}
3965 \consists @var{engravername}
3969 Here @var{engravername} is a string, the name of an engraver in the
3972 @var{propname} = @var{value}
3976 @lilypond[verbatim,singleline]
3980 \translator { \StaffContext
3981 \remove Clef_engraver;
3987 You can also set properties in a translator definition. The syntax is as
3990 @var{propname} is a string and @var{value} is a Scheme
3993 @var{propname} = @var{value}
3994 @var{propname} \set @var{symbol} = @var{value}
3995 @var{propname} \override @var{symbol} = @var{value}
3996 @var{propname} \revert @var{symbol}
4000 These type of property assignments happen before interpretation starts,
4001 so a @code{\property} expression will override any predefined settings.
4004 To simplify editing translators, all standard contexts have standard
4005 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4006 @code{VoiceContext}.
4008 @node Defining new contexts
4009 @subsection Defining new contexts
4011 If you want to build a context from scratch, you must also supply the
4012 following extra information:
4014 @item A name, specified by @code{\name @var{contextname};}.
4016 @item A cooperation module. This is specified by @code{\type
4023 \type "Engraver_group_engraver";
4024 \name "SimpleStaff";
4026 \consists "Staff_symbol_engraver";
4027 \consists "Note_head_engraver";
4028 \consistsend "Axis_group_engraver";
4032 Basic building blocks of translation are called engravers; they are
4033 special C++ classes.
4035 The argument of @code{\type} is the name for a special engraver that
4036 handles cooperation between simple engravers such as
4037 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4038 for this engraver are the following:
4040 @cindex @code{Engraver_group_engraver}
4041 @item @code{Engraver_group_engraver}
4042 The standard cooperation engraver.
4044 @cindex @code{Score_engraver}
4046 @item @code{Score_engraver}
4047 This is cooperation module that should be in the top level context,
4048 and only the toplevel context.
4050 @cindex @code{Grace_engraver_group}
4052 @item @code{Grace_engraver_group}
4053 This is a special cooperation module (resembling
4054 @code{Score_engraver}) that is used to created an embedded
4061 @item @code{\alias} @var{alternate-name} @code{;}
4062 This specifies a different name. In the above example,
4063 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4065 @item @code{\consistsend} @var{engravername} @code{;}
4066 Analogous to @code{\consists}, but makes sure that
4067 @var{engravername} is always added to the end of the list of
4070 Some engraver types need to be at the end of the list; this
4071 insures they are put there, and stay there, if a user adds or
4072 removes engravers. This command is usually not needed for
4075 @item @code{\accepts} @var{contextname} @code{;}
4076 Add @var{contextname} to the list of context this context can
4077 contain. The first listed context is the context to create by
4080 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4081 completeness, but is never used in practice.
4084 @item @code{\name} @var{contextname} @code{;}
4085 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4086 the name is not specified, the translator won't do anything.
4089 In the @code{\paper} block, it is also possible to define translator
4090 identifiers. Like other block identifiers, the identifier can only
4091 be used as the very first item of a translator. In order to define
4092 such an identifier outside of @code{\score}, you must do
4097 foo = \translator @{ @dots{} @}
4104 \translator @{ \foo @dots{} @}
4112 @cindex paper types, engravers, and pre-defined translators
4119 @c . {Syntactic details}
4120 @node Syntactic details
4121 @section Syntactic details
4122 @cindex Syntactic details
4124 This section describes details that were too boring to be put elsewhere.
4129 * Music expressions::
4130 * Manipulating music expressions::
4138 @subsection Top level
4141 This section describes what you may enter at top level.
4145 @subsubsection Score
4148 @cindex score definition
4150 The output is generated combining a music expression with an output
4151 definition. A score block has the following syntax:
4154 \score @{ @var{musicexpr} @var{outputdefs} @}
4157 @var{outputdefs} are zero or more output definitions. If none is
4158 supplied, the default @code{\paper} block will be added.
4162 @c . {Default output}
4163 @subsubsection Default output
4165 Default values for the @code{\paper} and @code{\midi} block are set by
4166 entering such a block at top-level.
4169 @subsubsection Header
4171 @cindex @code{\header}
4174 A header describes bibilographic information of the file's contents. It
4175 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4176 use this information for generating titles. Key values that are used by
4177 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4178 metre, arranger, piece and tagline.
4180 @cindex @code{ly2dvi}
4184 \header @{ @var{key1} = @var{val1};
4185 @var{key2} = @var{val2}; @dots{} @}
4188 It is customary to put the @code{\header} at the top of the file.
4190 @subsubsection Default output
4192 A @code{\midi} or @code{\paper} block at top-level sets the default
4194 paper block for all scores that lack an explicit paper block.
4198 @subsection Identifiers
4201 All of the information in a LilyPond input file, is represented as a
4202 Scheme value. In addition to normal Scheme data types (such as pair,
4203 number, boolean, etc.), LilyPond has a number of specialized data types,
4210 @item Translator_def
4214 @item Music_output_def
4215 @item Moment (rational number)
4218 LilyPond also includes some transient object types. Objects of these
4219 types are built during a LilyPond run, and do not `exist' per se within
4220 your input file. These objects are created as a result of your input
4221 file, so you can include commands in the input to manipulate them,
4222 during a lilypond run.
4225 @item Grob: short for Graphical object. See @ref{Grobs}.
4226 @item Molecule: device-independent page output object,
4227 including dimensions. Produced by some Grob functions
4229 @item Translator: object that produces audio objects or Grobs. This is
4230 not yet user accessible.
4231 @item Font_metric: object representing a font. (See @ref{Font metrics})
4236 @node Music expressions
4237 @subsection Music expressions
4239 @cindex music expressions
4241 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4242 syllables are music expressions, and you can combine music expressions
4243 to form new ones, for example by enclosing a list of expressions in
4244 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4245 compound expression is formed out of the quarter note @code{c} and a
4246 quarter note @code{d}:
4249 \sequential @{ c4 d4 @}
4252 @cindex Sequential music
4253 @cindex @code{\sequential}
4254 @cindex sequential music
4257 @cindex Simultaneous music
4258 @cindex @code{\simultaneous}
4260 The two basic compound music expressions are simultaneous and
4264 \sequential @code{@{} @var{musicexprlist} @code{@}}
4265 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4267 For both, there is a shorthand:
4269 @code{@{} @var{musicexprlist} @code{@}}
4273 @code{<} @var{musicexprlist} @code{>}
4275 for simultaneous music.
4276 In principle, the way in which you nest sequential and simultaneous to
4277 produce music is not relevant. In the following example, three chords
4278 are expressed in two different ways:
4280 @lilypond[fragment,verbatim,center]
4281 \notes \context Voice {
4282 <a c'> <b d' > <c' e'>
4283 < { a b c' } { c' d' e' } >
4288 Other compound music expressions include
4291 \transpose @var{pitch} @var{expr}
4292 \apply @var{func} @var{expr}
4293 \context @var{type} = @var{id} @var{expr}
4294 \times @var{fraction} @var{expr}
4298 @c . {Manipulating music expressions}
4299 @node Manipulating music expressions
4300 @subsection Manipulating music expressions
4302 The @code{\apply} mechanism gives you access to the internal
4303 representation of music. You can write Scheme-functions that operate
4304 directly on it. The syntax is
4306 \apply #@var{func} @var{music}
4308 This means that @var{func} is applied to @var{music}. The function
4309 @var{func} should return a music expression.
4311 This example replaces the text string of a script. It also shows a dump
4312 of the music it processes, which is useful if you want to know more
4313 about how music is stored.
4315 @lilypond[verbatim,singleline]
4316 #(define (testfunc x)
4317 (if (equal? (ly-get-mus-property x 'text) "foo")
4318 (ly-set-mus-property x 'text "bar"))
4320 (ly-set-mus-property x 'elements
4321 (map testfunc (ly-get-mus-property x 'elements)))
4326 \apply #testfunc { c4_"foo" }
4330 For more information on what is possible, see the automatically
4331 generated documentation.
4334 Directly accessing internal representations is dangerous: the
4335 implementation is subject to changes, so you should avoid this feature
4338 A final example is a function that reverses a piece of music in time:
4340 @lilypond[verbatim,singleline]
4341 #(define (reverse-music music)
4342 (let* ((elements (ly-get-mus-property music 'elements))
4343 (reversed (reverse elements))
4344 (span-dir (ly-get-mus-property music 'span-direction)))
4345 (ly-set-mus-property music 'elements reversed)
4347 (ly-set-mus-property music 'span-direction (- span-dir)))
4348 (map reverse-music reversed)
4351 music = \notes { c'4 d'4( e'4 f'4 }
4353 \score { \context Voice {
4355 \apply #reverse-music \music
4361 @c . {Span requests}
4367 @subsubsection Span requests
4368 @cindex Span requests
4370 Notational constructs that start and end on different notes can be
4371 entered using span requests. The syntax is as follows:
4375 \spanrequest @var{startstop} @var{type}
4379 @cindex @code{\start}
4380 @cindex @code{\stop}
4382 This defines a spanning request. The @var{startstop} parameter is either
4383 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4384 describes what should be started. Much of the syntactic sugar is a
4385 shorthand for @code{\spanrequest}, for example,
4387 @lilypond[fragment,verbatim,center]
4388 c'4-\spanrequest \start "slur"
4389 c'4-\spanrequest \stop "slur"
4392 Among the supported types are @code{crescendo}, @code{decrescendo},
4393 @code{beam}, @code{slur}. This is an internal command. Users are
4394 encouraged to use the shorthands which are defined in the initialization
4395 file @file{spanners.ly}.
4400 @subsection Assignments
4403 Identifiers allow objects to be assigned to names during the parse
4404 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4405 and to refer to an identifier, you preceed its name with a backslash:
4406 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4407 the input-types listed above. Identifier assignments can appear at top
4408 level in the LilyPond file, but also in @code{\paper} blocks.
4410 Semicolons are forbidden after top level assignments, but mandatory in
4411 other places. The rules about semicolons and assignments are very
4412 confusing, but when LilyPond input evolves more towards Scheme, we hope
4413 that this problem will grow smaller.
4415 An identifier can be created with any string for its name, but you will
4416 only be able to refer to identifiers whose names begin with a letter,
4417 being entirely alphabetical. It is impossible to refer to an identifier
4418 whose name is the same as the name of a keyword.
4420 The right hand side of an identifier assignment is parsed completely
4421 before the assignment is done, so it is allowed to redefine an
4422 identifier in terms of its old value, e.g.
4428 When an identifier is referenced, the information it points to is
4429 copied. For this reason, an identifier reference must always be the
4430 first item in a block.
4434 \paperIdent % wrong and invalid
4438 \paperIdent % correct
4443 @c . {Lexical modes}
4445 @subsection Lexical modes
4446 @cindex Lexical modes
4449 @cindex @code{\notes}
4450 @cindex @code{\chords}
4451 @cindex @code{\lyrics}
4453 To simplify entering notes, lyrics, and chords, LilyPond has three
4454 special input modes on top of the default mode: note, lyrics and chords
4455 mode. These input modes change the way that normal, unquoted words are
4456 interpreted: for example, the word @code{cis} may be interpreted as a
4457 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4460 A mode switch is entered as a compound music expressions
4462 @code{\notes} @var{musicexpr}
4463 @code{\chords} @var{musicexpr}
4464 @code{\lyrics} @var{musicexpr}.
4467 In each of these cases, these expressions do not add anything to the
4468 meaning of their arguments. They are just a way to indicate that the
4469 arguments should be parsed in indicated mode. The modes are treated in
4470 more detail in @ref{Lyrics} and @ref{Chords}.
4472 You may nest different input modes.
4476 @subsection Ambiguities
4481 The grammar contains a number of ambiguities. We hope to resolve them at
4485 @item The assignment
4491 can be interpreted as making a string identifier @code{\foo}
4492 containing @code{"bar"}, or a music identifier @code{\foo}
4493 containing the syllable `bar'.
4495 @item The assignment
4501 can be interpreted as making an integer identifier
4502 containing -6, or a Request identifier containing the
4503 fingering `6' (with neutral direction).
4505 @item If you do a nested repeat like
4517 then it is ambiguous to which @code{\repeat} the
4518 @code{\alternative} belongs. This is the classic if-then-else
4519 dilemma. It may be solved by using braces.
4521 @item (an as yet unidentified ambiguity :-)
4525 @c . {Lexical details}
4526 @node Lexical details
4527 @section Lexical details
4529 Even more boring details, now on lexical side of the input parser.
4540 * Version information::
4545 @subsection Comments
4548 @cindex block comment
4549 @cindex line comment
4553 A one line comment is introduced by a @code{%} character.
4554 Block comments are started by @code{%@{} and ended by @code{%@}}.
4555 They cannot be nested.
4558 @subsection Direct Scheme
4562 @cindex Scheme, in-line code
4565 LilyPond contains a Scheme interpreter (the GUILE library) for
4566 internal use. In some places Scheme expressions also form valid syntax:
4567 whereever it is allowed,
4571 evaluates the specified Scheme code. If this is used at toplevel, then
4572 the result is discarded. Example:
4574 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4577 @code{\override} expects two Scheme expressions, so there are two Scheme
4578 expressions. The first one is a symbol (@code{foobar}), the second one
4579 an integer (namely, 3).
4581 Scheme is a full-blown programming language, and a full discussion is
4582 outside the scope of this document. Interested readers are referred to
4583 the website @uref{http://www.schemers.org/} for more information on
4588 @subsection Keywords
4592 Keywords start with a backslash, followed by a number of lower case
4593 alphabetic characters. These are all the keywords.
4596 apply arpeggio autochange spanrequest commandspanrequest
4597 simultaneous sequential accepts alternative bar breathe
4598 char chordmodifiers chords clef cm consists consistsend
4599 context denies duration dynamicscript elementdescriptions
4600 font grace header in lyrics key mark pitch
4601 time times midi mm name pitchnames notes outputproperty
4602 override set revert partial paper penalty property pt
4603 relative remove repeat addlyrics partcombine score
4604 script stylesheet skip textscript tempo translator
4609 @subsection Integers
4617 Formed from an optional minus sign followed by digits. Arithmetic
4618 operations cannot be done with integers, and integers cannot be mixed
4623 @cindex real numbers
4629 Formed from an optional minus sign and a sequence of digits followed
4630 by a @emph{required} decimal point and an optional exponent such as
4631 @code{-1.2e3}. Reals can be built up using the usual operations:
4632 `@code{+}', `@code{-}', `@code{*}', and
4633 `@code{/}', with parentheses for grouping.
4641 A real constant can be followed by one of the dimension keywords:
4642 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4643 points, inches and centimeters, respectively. This converts the number
4644 a number that is the internal representation of that dimension.
4652 Begins and ends with the @code{"} character. To include a @code{"}
4653 character in a string write @code{\"}. Various other backslash
4654 sequences have special interpretations as in the C language. A string
4655 that contains no spaces can be written without the quotes. See
4656 @ref{Lexical modes} for details on unquoted strings; their
4657 interpretation varies depending on the situation. Strings can be
4658 concatenated with the @code{+} operator.
4660 The tokenizer accepts the following commands. They have no grammatical
4661 function, hence they can appear anywhere in the input.
4665 @subsection Main input
4668 @cindex @code{\maininput}
4670 The @code{\maininput} command is used in init files to signal that the
4671 user file must be read. This command cannot be used in a user file.
4673 @node File inclusion
4674 @subsection File inclusion
4675 @cindex @code{\include}
4677 \include @var{filename}
4680 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4681 unquoted string will not work here!) or a string identifier. The full
4682 filename including the @file{.ly} extension must be given,
4685 @node Version information
4686 @subsection Version information
4687 @cindex @code{\version}
4689 \version @var{string} ;
4692 Specify the version of LilyPond that a file was written for. The
4693 argument is a version string in quotes, for example @code{"1.2.0"}.
4694 This is used to detect invalid input, and to aid
4695 @code{convert-ly} a tool that automatically upgrades input files. See
4696 See @ref{convert-ly} for more information on @code{convert-ly}.
4705 @c .{Local emacs vars}
4708 @c minor-mode: font-lock
4709 @c minor-mode: outline
4710 @c outline-layout: (-1 : 0)
4711 @c outline-use-mode-specific-leader: "@c \."
4712 @c outline-primary-bullet: "{"
4713 @c outline-stylish-prefixes: nil
4714 @c outline-override-protect: t