4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
15 @c .{Reference Manual}
17 @node Reference Manual
18 @chapter Reference Manual
21 <!--- @@WEB-TITLE@@=Reference Manual --->
24 This document describes GNU LilyPond and its input format. The last
25 revision of this document was made for LilyPond 1.4.1. It supposes a
26 passing familiarity with how LilyPond input works. New users are
27 encouraged to study the tutorial first.
29 The reference manual is ordered according to different tasks.
30 More details on the property setting mechanisms and context handling is
31 provided in @ref{Tuning output} and @ref{Interpretation context}. The
32 syntactical details are described at the end of the manual.
54 * Skipping corrected music::
55 * Interpretation context::
65 The purpose of LilyPond is explained informally by the term `music
66 typesetter'. This is not a fully correct name: not only does the
67 program print musical symbols, it also makes aesthetic decisions.
68 Symbols and their placements are @emph{generated} from a high-level
69 musical description. In other words, LilyPond would be best described
70 by `music compiler' or `music to notation compiler'.
72 LilyPond is linked to GUILE, GNU's Scheme library for extension
73 programming. The Scheme library provides the glue that holds together
74 the low-level routines and separate modules which are written in C++.
76 When lilypond is run to typeset sheet music, the following happens:
78 @item GUILE Initialization: various scheme files are read
79 @item parsing: first standard @code{ly} initialization files are read, and
80 then the user @file{ly} file is read.
81 @item interpretation: the music in the file is processed ``in playing
82 order'', i.e. the order that you use to read sheet music, or the
83 order in which notes are played. The result of this step is a typesetting
87 The typesetting specification is solved: positions and formatting is
90 @item the visible results ("virtual ink") are written to the output file.
93 During these stages different types of data play the the main role:
94 during parsing, @strong{Music} objects are created. During the
95 interpretation, @strong{contexts} are constructed, and with these contexts
96 a network of @strong{graphical objects} (``grobs'') is created. These
97 grobs contain unknown variables, and the network forms a set of
98 equations. After solving the equations and filling in these variables,
99 the printed output (in the form of @strong{molecules}) is written to an
102 These threemanship of tasks (parsing, translating, typesetting) and
103 data-structures (music, context, graphical objects) permeates the entire
104 design of the program.
111 The most basic forms of music are notes. We discuss how you enter them
112 here. Notes on their own don't form valid input, but for the sake of
113 brevity we omit obligatory lint such as @code{\score} blocks and
114 @code{\paper} declarations.
125 * Defining pitch names::
126 * Easy Notation note heads ::
133 A note specification has the form
136 @var{pitch}[!][?][@var{duration}]
139 The alteration refers to what note is heard, not to whether an
140 accidental is printed. This is done depending on the key and context.
141 A reminder accidental
142 @cindex reminder accidental
144 can be forced by adding an exclamation mark @code{!} after the pitch. A
145 cautionary accidental,
146 @cindex cautionary accidental
147 @cindex parenthesized accidental
148 i.e., an accidental within parentheses can be obtained by adding the
149 question mark `@code{?}' after the pitch.
151 @lilypond[fragment,verbatim,center]
152 cis' d' e' cis' c'? d' e' c'!
161 @cindex Note specification
163 @cindex entering notes
165 The verbose syntax for pitch specification is
167 @cindex @code{\pitch}
169 \pitch @var{scmpitch}
172 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
174 In Note and Chord mode, pitches may be designated by names. The default
175 names are the Dutch note names. The notes are specified by the letters
176 @code{a} through @code{g} (where the octave is formed by notes ranging
177 from @code{c} to @code{b}). The pitch @code{c} is an octave below
178 middle C and the letters span the octave above that C.
180 @cindex note names, Dutch
182 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
183 name and a flat is formed by adding @code{-es}. Double sharps and double
184 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
185 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
186 both forms are accepted.
188 LilyPond has predefined sets of note names for various other languages.
189 To use them, simply include the language specific init file. For
190 example: @code{\include "english.ly"}. The available language files and
191 the names they define are:
194 Note Names sharp flat
195 nederlands.ly c d e f g a bes b -is -es
196 english.ly c d e f g a bf b -s/-sharp -f/-flat
197 deutsch.ly c d e f g a b h -is -es
198 norsk.ly c d e f g a b h -iss/-is -ess/-es
199 svenska.ly c d e f g a b h -iss -ess
200 italiano.ly do re mi fa sol la sib si -d -b
201 catalan.ly do re mi fa sol la sib si -d/-s -b
209 The optional octave specification takes the form of a series of
210 single quote (`@code{'}') characters or a series of comma
211 (`@code{,}') characters. Each @code{'} raises the pitch by one
212 octave; each @code{,} lowers the pitch by an octave.
214 @lilypond[fragment,verbatim,center]
215 c' c'' es' g' as' gisis' ais'
223 Rests are entered like notes, with note name `@code{r}'. The grob is
224 @code{Rest}. Whole bar rests centered in the bar are specified using
225 @code{R}, see @ref{Multi measure rests}.
240 Skips the amount of time specified by @var{duration}. If no other music
241 is played, a gap will be left for the skipped time without any notes
242 printed. The shorthand is only available in Note and Chord mode.
246 @subsection Durations
250 @cindex @code{\duration}
252 The syntax for a verbose duration specification is
254 \duration @var{scmduration}
256 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
257 @ref{Duration} for more information.
260 In Note, Chord, and Lyrics mode, durations may be designated by numbers
261 and dots: durations are entered as their reciprocal values. For notes
262 longer than a whole you must use identifiers.
266 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
268 r1 r2 r4 r8 r16 r32 r64 r64
274 \notes \relative c'' {
276 a1 a2 a4 a8 a16 a32 a64 a64
278 r1 r2 r4 r8 r16 r32 r64 r64
283 \remove "Clef_engraver"
284 \remove "Staff_symbol_engraver"
285 \remove "Time_signature_engraver"
286 \consists "Pitch_squash_engraver"
292 To get a longa note head, you have to use mensural note heads. This
293 is accomplished by setting the @code{style} property of the
294 NoteHead grob to @code{mensural}. There is also a note head style
295 @code{baroque} which gives mensural note heads for @code{\longa} and
296 @code{\breve} but standard note heads for shorter notes.
298 @lilypond[fragment,singleline,verbatim]
299 \property Voice.NoteHead \set #'style = #'mensural
303 If the duration is omitted then it is set to the previous duration
304 entered. At the start of parsing a quarter note is assumed. The
305 duration can be followed by dots (`@code{.}') to obtain dotted note
309 @lilypond[fragment,verbatim,center]
315 You can alter the length of duration by a fraction @var{N/M} by
316 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
317 will not affect the appearance of the notes or rests produced.
329 A tie connects two adjacent note heads of the same pitch. When used
330 with chords, it connects all the note heads whose pitches match.
331 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
332 together chords which have no common pitches then no ties will be
335 @lilypond[fragment,verbatim,center]
336 e' ~ e' <c' e' g'> ~ <c' e' g'>
339 If you dislike the amount of ties created for a chord, you set
340 @code{Voice.sparseTies} to true, resulting in a smaller number of
342 @lilypond[fragment,verbatim,center]
343 \property Voice.sparseTies = ##t
344 <c' e' g'> ~ <c' e' g'>
347 In its meaning a tie is just a way of extending a note duration, similar
348 to the augmentation dot: the following example are two ways of notating
349 exactly the same concept.
351 @lilypond[fragment, singleline]
352 \time 3/4 c'2. c'2 ~ c'4
355 The name of the tie grob is @code{Voice.Tie}.
359 At present, the tie is implemented as a separate thing, temporally
360 located in between the notes. There is also no way to convert
361 between tied notes, dotted notes and plain notes.
363 Tieing only a subset of the note heads of a chord is not supported in a
364 simple way. It can be achieved by moving the tie-engraver into the Thread
365 context and turning on and off ties per Thread.
373 @cindex @code{\times}
375 Tuplets are made out of a music expression by multiplying all duration
378 @cindex @code{\times}
380 \times @var{fraction} @var{musicexpr}
383 The duration of @var{musicexpr} will be multiplied by the fraction.
384 In print, the fraction's denominator will be printed over the notes,
385 optionally with a bracket. The most common tuplet is the triplet in
386 which 3 notes have the length of 2, so the notes are 2/3 of
387 their written length:
389 @lilypond[fragment,verbatim,center]
390 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
393 The property @code{tupletSpannerDuration} specifies how long each bracket
394 should last. With this, you can make lots of tuplets while typing
395 @code{\times} only once, thus saving typing work.
397 @lilypond[fragment, relative, singleline, verbatim]
398 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
399 \times 2/3 { c'8 c c c c c }
402 The format of the number is determined by the property
403 @code{tupletNumberFormatFunction}. The default prints only the
404 denominator, but if you set it to the Scheme function
405 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
408 The typesetting of brackets and numbers is controlled by the properties
409 @code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
411 @lilypond[fragment, relative, singleline, verbatim]
412 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
413 \times 2/3{c'8 d e} \times 2/3{d4 e8}
414 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
415 \times 2/3{c d e} \times 2/3{d4 e8}
416 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
417 \times 2/3{c d e} \times 2/3{d4 e8}
418 \property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
419 \times 2/3{c d e} \times 2/3{d4 e8}
420 \property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
421 \times 2/3{c d e} \times 2/3{d4 e8}
424 @cindex @code{tupletNumberFormatFunction}
425 @cindex tuplet formatting
427 Tuplet brackets are printed as @code{TupletBracket} grobs
429 @c . {Defining pitch names}
430 @node Defining pitch names
431 @subsection Defining pitch names
433 @cindex defining pitch names
434 @cindex pitch names, defining
436 Note names and chord modifiers can be customized for nationalities. The
437 syntax is as follows.
439 @cindex @code{\pitchnames}
440 @cindex @code{\chordmodifiers}
442 \pitchnames @var{scheme-alist}
443 \chordmodifiers @var{scheme-alist}
446 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
447 specific examples on how to do this.
450 @node Easy Notation note heads
451 @subsection Easy Notation note heads
453 @cindex easy notation
456 A entirely different type of note head is the "easyplay" note head: a
457 note head that includes a note name. It is used in some publications by
458 Hal-Leonard Inc. music publishers.
460 @lilypond[singleline,verbatim]
461 \include "paper23.ly"
463 \notes { c'2 e'4 f' | g'1 }
464 \paper { \translator { \EasyNotation } }
468 Note that @code{EasyNotation} overrides a @code{Score} context. You
469 probably will want to print it with magnification to make it more
470 readable, see @ref{Output scaling}.
476 If you view the result with Xdvi, then staff lines will show through the
477 letters. Printing the postscript file obtained either by using dvips or
478 the @code{-f ps} option of lilypond produces the correct result.
483 @section Staff notation
485 @cindex Staff notation
497 @subsection Key signature
502 Setting or changing the key signature is done with the @code{\key}
505 @code{\key} @var{pitch} @var{type}
508 @cindex @code{\minor}
509 @cindex @code{\major}
510 @cindex @code{\minor}
511 @cindex @code{\ionian}
512 @cindex @code{\locrian}
513 @cindex @code{\aeolian}
514 @cindex @code{\mixolydian}
515 @cindex @code{\lydian}
516 @cindex @code{\phrygian}
517 @cindex @code{\dorian}
519 Here, @var{type} should be @code{\major} or @code{\minor} to get
520 @var{pitch}-major or @var{pitch}-minor, respectively.
521 The standard mode names @code{\ionian},
522 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
523 @code{\phrygian}, and @code{\dorian} are also defined.
525 This command sets the context property @code{Staff.keySignature}.
526 Non-standard key signatures can be specified by setting this property
527 directly, see the generated documentation for @rgrob{KeySignature}.
529 The printed signature is a @code{KeySignature} grob.
531 @cindex @code{keySignature}
538 The clef can be set or changed with the @code{\clef} command.
546 \property Staff.clefGlyph = @var{glyph associated with clefname}
547 \property Staff.clefPosition = @var{clef Y-position for clefname}
548 \property Staff.centralCPosition = @var{position for central C}
549 \property Staff.clefOctavation = @var{extra transposition of clefname}
552 Any change in these properties creates a clef (a @code{Clef} grob).
554 Supported clef-names include
556 @c Moved standard clefs to the top /MB
558 @item treble, violin, G, G2
567 G clef on 1st line, so-called French violin clef
582 By adding @code{_8} or @code{^8} to the clef name, the clef is
583 transposed one octave down or up, respectively.
585 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
594 @item clefs-vaticana_do
595 Editio Vaticana style do clef
596 @item clefs-vaticana_fa
597 Editio Vaticana style fa clef
598 @item clefs-medicaea_do
599 Editio Medicaea style do clef
600 @item clefs-medicaea_fa
601 Editio Medicaea style fa clef
602 @item clefs-mensural1_c
603 modern style mensural C clef
604 @item clefs-mensural2_c
605 historic style small mensural C clef
606 @item clefs-mensural3_c
607 historic style big mensural C clef
608 @item clefs-mensural1_f
609 historic style traditional mensural F clef
610 @item clefs-mensural2_f
611 historic style new mensural F clef
612 @item clefs-mensural_g
613 historic style mensural G clef
614 @item clefs-hufnagel_do
615 historic style hufnagel do clef
616 @item clefs-hufnagel_fa
617 historic style hufnagel fa clef
618 @item clefs-hufnagel_do_fa
619 historic style hufnagel combined do/fa clef
620 @item clefs-percussion
621 modern style percussion clef
624 @emph{Modern style} means ``as is typeset in current editions.''
625 @emph{Historic style} means ``as was typeset or written in contemporary
626 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
629 @cindex Vaticana, Editio
630 @cindex Medicaea, Editio
631 @cindex hufnagel clefs
634 @c . {Time signature}
636 @subsection Time signature
637 @cindex Time signature
641 The time signature is set or changed by the @code{\time}
644 \time @var{n}@code{/}@var{d}
646 Internally, this is a shortcut for doing
648 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
649 \property Score.beatLength = #(make-moment 1 @var{d})
650 \property Score.measureLength = #(make-moment @var{n} @var{d})
653 These properties @code{timeSignatureFraction} determine where bar lines
654 should be inserted, and how automatic beams should be
657 Changing the value of @code{timeSignatureFraction} also causes a
658 fraction to be printed. This grob is @code{TimeSignature}.
660 The actual symbol that's printed can be customized with the style
662 @lilypond[fragment, verbatim, singleline]
664 \property Staff.TimeSignature \override #'style = #'C
666 \property Staff.TimeSignature \override #'style = #'()
668 \property Staff.TimeSignature \override #'style = #'C
672 There are many more options for the layout of this grob. They are
673 selected through the @code{style} grob property.
675 @c FIXME: this isn't documented except in example?
677 @file{input/test/time.ly} for examples.
684 @cindex partial measure
685 @cindex measure, partial
686 @cindex shorten measures
687 @cindex @code{\partial}
689 Partial measures, for example in upbeats, are entered using the
690 @code{\partial} command:
692 \partial @var{duration}
695 Internally, this is a shortcut for
698 \property Score.measurePosition = -@var{length of duration}
702 The property @code{measurePosition} contains a rational number
703 indicating how much of the measure has passed at this point.
706 @node Unmetered music
707 @subsection Unmetered music
709 Bar lines and bar numbers are calculated automatically. For unmetered
710 music (e.g. cadenzas), this is not desirable. The property
711 @code{Score.timing} can be used to switch off this automatic timing
713 @lilypond[fragment,relative,singleline,verbatim]
715 \property Score.timing = ##f
717 \property Score.timing = ##t
721 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
728 @subsection Bar lines
732 @cindex measure lines
739 This is a shortcut for doing
741 \property Score.whichBar = @var{bartype}
743 The following bar types are available
745 @lilypond[fragment, relative, singleline, verbatim]
758 You are encouraged to use @code{\repeat} for repetitions. See
762 @cindex Bar_line_engraver
764 @cindex repeatCommands
765 @cindex defaultBarType
767 Whenever @code{whichBar} is set to a string, a bar line of that type is
768 created. @code{whichBar} is usually set automatically: at the start of
769 a measure it is set to @code{defaultBarType}. The contents of
770 @code{repeatCommands} is used to override default measure bars.
772 @code{whichBar} can also be set directly, using @code{\property} or
773 @code{\bar }. These settings take precedence over the automatic
774 @code{whichBar} settings.
776 @code{BarLine} grobs are created by the @code{Bar_engraver}.
783 Polyphonic parts, i.e. parts with more than one voice on a staff can be
784 typeset with LilyPond. To use this, instantiate a separate Voice
785 context for each part, and assign a stem direction to each part.
786 @lilypond[fragment,verbatim]
788 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
789 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
792 When there are more than two voices on a staff, you must also indicate
793 which voice should moved horizontally in case of a collision. This can
794 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
795 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
796 in @code{NoteColumn}).
798 @lilypond[fragment, verbatim]
799 \context Staff \notes\relative c''<
806 \context Voice=three {
807 \shiftOnn \stemUp ais
809 \context Voice=four {
810 \shiftOnnn \stemUp fis
815 The most convenient way is to use the identifiers @code{\voiceOne}
816 through @code{\voiceFour}, which also set slur and tie directions in the
819 @lilypond[singleline, verbatim]
821 \context Staff < \context Voice = VA { \voiceOne cis2 b }
822 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
823 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
826 Normally, note heads with a different number of dots are not merged, but
827 if you set the grob property @code{merge-differently-dotted}, they are:
829 @lilypond[verbatim,fragment,singleline]
831 \context Voice = VA { \voiceOne
833 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
836 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
840 LilyPond also vertically shifts rests that are opposite of a stem.
842 @lilypond[singleline,verbatim]
844 \context Voice { \stemUp c''4 }
845 \context Voice =VB { r4 }
849 Note head collisions (horizontal shifting of note heads) are handled by
850 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
853 @cindex @code{NoteCollision}
854 @cindex @code{RestCollision}
859 Resolving collisions is a very intricate subject, and LilyPond only
860 handles a few situations. When it can not cope, you are advised to use
861 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
862 the Rest grob to override typesetting decisions.
867 Beams are used to group short notes into chunks that are aligned with
868 the metrum. LilyPond guesses where beams should be inserted. If you're
869 not satisfied with the automatic beaming, you can specify which patterns
870 to beam automatically. In specific cases, you can also enter the beams
874 @c . {Automatic beams}
875 @subsection Automatic beams
877 @cindex @code{Voice.autoBeamSettings}
878 @cindex @code{(end * * * *)}
879 @cindex @code{(begin * * * *)}
882 In normal time signatures, automatic beams can start on any note but can
883 only end in a few positions within the measure: beams can end on a beat,
884 or at durations specified by the properties in
885 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
886 are defined in @file{scm/auto-beam.scm}.
888 The value of @code{autoBeamSettings} is changed using
889 @code{\override} and unset using @code{\revert}:
891 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
892 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
894 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
895 whether the rule applies to begin or end-points. The quantity
896 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
897 *}' designates notes of any length), @var{N}/@var{M} refers to a time
898 signature (wildcards, `@code{* *}' may be entered to designate all time
901 For example, if you want automatic beams to end on every quarter note,
902 you can use the following:
904 \property Voice.autoBeamSettings \override
905 #'(end * * * *) = #(make-moment 1 4)
907 Since the duration of a quarter note is 1/4 of a whole note, it is
908 entered as @code{(make-moment 1 4)}.
910 The same syntax can be used to specify beam starting points. In this
911 example, automatic beams can only end on a dotted quarter note.
913 \property Voice.autoBeamSettings \override
914 #'(end * * * *) = #(make-moment 3 8)
916 In 4/4 time signature, this means that automatic beams could end only on
917 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
918 3/8 has passed within the measure).
920 You can also restrict rules to specific time signatures. A rule that
921 should only be applied in @var{N}/@var{M} time signature is formed by
922 replacing the second asterisks by @var{N} and @var{M}. For example, a
923 rule for 6/8 time exclusively looks like
925 \property Voice.autoBeamSettings \override
926 #'(begin * * 6 8) = ...
929 If you want a rule to apply to certain types of beams, you can use the
930 first pair of asterisks. Beams are classified according to the shortest
931 note they contain. For a beam ending rule that only applies to beams
932 with 32nd notes (and no shorter notes), you would use @code{(end 1
936 @c Automatic beams can not be put on the last note in a score.
938 If a score ends while an automatic beam has not been ended and is still
939 accepting notes, this last beam will not be typeset at all.
941 @cindex automatic beam generation
943 @cindex @code{Voice.noAutoBeaming}
945 Automatic beaming is on by default, but can be switched off by setting
946 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
947 a melody that goes with lyrics.
951 It is not possible to specify beaming parameters for beams with mixed
952 durations, that differ from the beaming parameters of all separate
953 durations, i.e., you'll have to specify manual beams to get:
954 @lilypond[fragment,singleline,relative]
955 \property Voice.autoBeamSettings
956 \override #'(end * * * *) = #(make-moment 3 8)
957 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
960 It is not possible to specify beaming parameters that act differently in
961 different parts of a measure. This means that it is not possible to use
962 automatic beaming in irregular meters such as @code{5/8}.
965 @cindex Automatic beams
966 @subsection Manual beams
967 @cindex beams, manual
971 In some cases it may be necessary to override LilyPond's automatic
972 beaming algorithm. For example, the auto beamer will not beam over
973 rests or bar lines, If you want that, specify the begin and end point
974 manually using a @code{[} before the first beamed note and a @code{]}
977 @lilypond[fragment,relative,verbatim]
979 r4 [r8 g' a r8] r8 [g | a] r8
982 Whenever an manual beam is busy, the automatic beamer will not produce
985 @cindex @code{stemLeftBeamCount}
987 Normally, beaming patterns within a beam are determined automatically.
988 When this mechanism fouls up, the properties
989 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
990 be used to control the beam subdivision on a stem. If you set either
991 property, it's value will be used only once, and then it is erased.
993 @lilypond[fragment,relative,verbatim]
996 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
999 @cindex @code{stemRightBeamCount}
1001 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
1002 beams) can be tweaked through grob-properties @code{height} and
1003 @code{staff-position}. These specify vertical location and vertical
1004 span. Both are measured in half staff-spaces, @code{staff-position=0}
1005 corresponds to the middle staff line.
1007 Set @code{height} to zero, to get horizontal beams:
1009 @lilypond[fragment,relative,verbatim]
1010 \property Voice.Beam \set #'direction = #1
1011 \property Voice.Beam \set #'height = #0
1015 Here's how you'd specify a weird looking beam that instead of being
1016 horizontal, falls two staff spaces:
1018 @lilypond[fragment,relative,verbatim]
1019 \property Voice.Beam \set #'staff-position = #4
1020 \property Voice.Beam \set #'height = #-4
1024 @c TODO -> why this ref? Document?
1025 @cindex @code{neutral-direction}
1027 @node Expressive marks
1028 @section Expressive marks
1043 A slur indicates that notes are to be played bound or @emph{legato}.
1044 They are entered using parentheses:
1046 @lilypond[fragment,verbatim,center]
1047 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1051 Slurs avoid crossing stems, and are generally attached to note heads.
1052 However, in some situations with beams, slurs may be attached to stem
1053 ends. If you want to override this layout you can do this through the
1054 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
1055 pair of symbols, specifying the attachment type of the left and right end points.
1057 @lilypond[fragment,relative,verbatim]
1058 \property Voice.Slur \set #'direction = #1
1059 \property Voice.Stem \set #'length = #5.5
1061 \property Voice.Slur \set #'attachment = #'(stem . stem)
1065 If a slur would strike through a stem or beam, the slur will be moved
1066 away upward or downward. If this happens, attaching the slur to the
1067 stems might look better:
1069 @lilypond[fragment,relative,verbatim]
1070 \property Voice.Stem \set #'direction = #1
1071 \property Voice.Slur \set #'direction = #1
1073 \property Voice.Slur \set #'attachment = #'(stem . stem)
1078 Similarly, the curvature of a slur is adjusted to stay clear of note
1079 heads and stems. When that would increase the curvature too much, the
1080 slur is reverted to its default shape. The threshold for this decision
1081 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1082 related to the enclosed area between the slur and the notes. Usually,
1083 the default setting works well, but in some cases you may prefer a
1084 curved slur when LilyPond decides for a vertically moved one. You can
1085 indicate this preference by increasing the @code{beautiful} value:
1087 @lilypond[verbatim,singleline,relative]
1088 \property Voice.Beam \override #'direction = #-1
1089 \property Voice.Slur \override #'direction = #1
1090 c16( a' f' a a f a, )c,
1091 c( a' f' a a f d, )c
1092 \property Voice.Slur \override #'beautiful = #5.0
1093 c( a' f' a a f d, )c
1098 @code{beautiful} is an arbitrary parameter in the slur formatter.
1099 Useful values can only be determined by trial and error.
1101 @cindex Adjusting slurs
1103 @node Phrasing slurs
1104 @subsection Phrasing slurs
1106 @cindex phrasing slurs
1107 @cindex phrasing marks
1109 A phrasing slur (or phrasing mark) connects chords and is used to
1110 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1113 @lilypond[fragment,verbatim,center,relative]
1114 \time 6/4 c' \( ( d ) e f ( e ) \) d
1117 Typographically, the phrasing slur behaves almost exactly like a normal
1118 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1121 @subsection Breath marks
1123 Breath marks are entered using @code{\breathe}. The result is a
1124 @code{Voice.BreathingSign} grob.
1126 @lilypond[fragment,relative]
1135 Currently, only tick marks are supported, not comma style breath marks.
1142 @cindex beats per minute
1143 @cindex metronome marking
1145 Metronome settings can be entered as follows:
1147 @cindex @code{\tempo}
1149 \tempo @var{duration} = @var{perminute}
1152 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1157 The tempo setting is not printed, but is only used in the MIDI
1158 output. You can trick lily into producing a metronome mark,
1159 though. Details are in @ref{Text markup}.
1164 @subsection Text spanners
1165 @cindex Text spanners
1167 Some textual indications, e.g. rallentando or accelerando, often extend
1168 over many measures. This is indicated by following the text with a
1169 dotted line. You can create such texts using text spanners. The syntax
1172 \spanrequest \start "text"
1173 \spanrequest \stop "text"
1175 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1176 string to be printed, as well as the style is set through grob
1179 An application---or rather, a hack---is to fake octavation indications.
1180 @lilypond[fragment,relative,verbatim]
1181 \relative c' { a''' b c a
1182 \property Voice.TextSpanner \set #'type = #'dotted-line
1183 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1184 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1185 \property Staff.centralCPosition = #-13
1186 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1204 @subsection Articulations
1205 @cindex Articulations
1207 @cindex articulations
1211 A variety of symbols can appear above and below notes to indicate
1212 different characteristics of the performance. These symbols can be
1213 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1214 are defined in @file{script.ly}. Symbols can be forced to appear above
1215 or below the note by writing `@var{note}@code{^\}@var{name}' and
1216 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1217 symbols on notes, with the name of the corresponding symbol appearing
1223 \property Score.LyricSyllable \override #'font-family =#'typewriter
1224 \property Score.LyricSyllable \override #'font-shape = #'upright
1225 \context Staff \notes {
1226 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1227 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1228 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1229 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1230 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1231 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1232 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1233 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1235 \context Lyrics \lyrics {
1236 accent__ marcato__ staccatissimo__ fermata
1237 stopped__ staccato__ tenuto__ upbow
1238 downbow__ lheel__ rheel__ ltoe
1239 rtoe__ turn__ open__ flageolet
1240 reverseturn__ trill__ prall__ mordent
1241 prallprall__ prallmordent__ uprall__ downprall
1242 upmordent__ downmordent__ pralldown__ prallup__
1243 lineprall__ thumb__ segno__ coda
1247 linewidth = 5.875\in
1253 To save typing work, some shorthands are available:
1254 @lilypond[singleline]
1256 \notes \context Voice {
1257 \property Voice.TextScript \set #'font-family = #'typewriter
1258 \property Voice.TextScript \set #'font-shape = #'upright
1264 c''4-^_"c-\\^{ }" s4
1271 Fingering instructions can also be entered in this shorthand.
1272 @lilypond[verbatim, singleline, fragment]
1273 c'4-1 c'4-2 c'4-3 c'4-4
1277 @cindex @code{\script}
1282 You can add scripts by editing @file{scm/script.scm}. This file contains
1283 a table, listing script definitions and aliases. The following syntax
1284 accesses a script definition from the table:
1290 Usually the @code{\script} keyword is not used directly. Various
1291 helpful identifier definitions appear in @file{script.ly}.
1293 Grobs for these objects are @code{Script} and @code{Fingering}.
1297 All of these note ornaments appear in the printed output but have no
1298 effect on the MIDI rendering of the music.
1300 Unfortunately, there is no support for adding fingering instructions or
1301 ornaments to individual note heads. Some hacks exist, though. See
1302 @file{input/test/script-horizontal.ly}.
1307 @subsection Text scripts
1308 @cindex Text scripts
1310 In addition, it is possible to place arbitrary strings of text or markup
1311 text (see @ref{Text markup}) above or below notes by using a string:
1314 By default, these indications do not influence the note spacing, but
1315 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1316 into account. The identifier @code{\fatText} is defined in the standard
1318 @lilypond[fragment,singleline,verbatim]
1319 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1322 Text scripts are created in form of @code{Voice.TextScript} grobs.
1324 @ref{Text markup} describes how to change the font or access
1325 special symbols in text scripts.
1329 @subsection Grace notes
1338 @cindex @code{\grace}
1341 @cindex @code{graceAlignPosition}
1343 Grace notes are ornaments that are written out, but do not take up any
1344 logical time in a measure. LilyPond has limited support for grace notes.
1345 The syntax is as follows.
1347 \grace @var{musicexpr}
1350 Unbeamed eighth notes and shorter by default have a slash through the
1353 @lilypond[fragment,verbatim]
1355 \grace c8 c4 \grace { [c16 c16] } c4
1357 \property Voice.Stem \override #'flag-style = #'()
1359 \property Voice.Stem \revert #'flag-style
1364 A grace note expression has duration 0; the next real note is assumed to
1365 be the main note. If you want the note to appear after the main note,
1366 set @code{Voice.graceAlignPosition} to @code{1}.
1370 Nesting @code{\grace} notes is not supported. The following may cause
1371 run-time errors: @example
1372 @code{\grace @{ \grace c32 c16 @} c4}
1374 Since the meaning of such a construct is unclear, we don't consider this
1375 a loss. Similarly, juxtaposing two @code{\grace} sections is
1376 syntactically valid, but makes no sense and may cause runtime errors.
1377 Ending a staff or score with grace notes may also generate a run-time
1378 error, since there will be no main note to attach the grace notes to.
1389 @subsection Glissando
1392 @cindex @code{\glissando}
1394 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1395 @code{\glissando} to a note:
1397 @lilypond[fragment,relative,verbatim]
1403 Printing of an additional text (such as @emph{gliss.}) must be done
1410 @subsection Dynamics
1423 @cindex @code{\ffff}
1433 Absolute dynamic marks are specified using an identifier after a
1434 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1435 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1436 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1437 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1439 @lilypond[verbatim,singleline,fragment,relative]
1440 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1446 @cindex @code{\decr}
1447 @cindex @code{\rced}
1453 A crescendo mark is started with @code{\cr} and terminated with
1454 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1455 started with @code{\decr} and terminated with @code{\rced}. There are
1456 also shorthands for these marks. A crescendo can be started with
1457 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1458 can be terminated with @code{\!}. Note that @code{\!} must go before
1459 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1460 after the last note. Because these marks are bound to notes, if you
1461 want several marks during one note, you have to use spacer notes.
1463 @lilypond[fragment,verbatim,center]
1464 c'' \< \! c'' d'' \decr e'' \rced
1465 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1468 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1469 is an example how to do it:
1474 @lilypond[fragment,relative,verbatim]
1476 \property Voice.crescendoText = "cresc."
1477 \property Voice.crescendoSpanner = #'dashed-line
1482 For everyday use, we recommend the identifiers @code{\cresc},
1483 @code{endcresc}, @code{\dim} and @code{\enddim}.
1487 Dynamics are grobs of @code{Voice.DynamicText} and
1488 @code{Voice.Hairpin}. They are put together on
1489 @code{Voice.DynamicLineSpanner} to align them vertically.
1498 @cindex @code{\repeat}
1500 To specify repeats, use the @code{\repeat} keyword. Since repeats
1501 should work differently when played or printed, there are a few
1502 different variants of repeats.
1506 Repeated music is fully written (played) out. Useful for MIDI
1507 output, and entering repetitive music.
1510 This is the normal notation: Repeats are not written out, but
1511 alternative endings (voltas) are printed, left to right.
1514 Alternative endings are written stacked. This has limited use but may be
1515 used to typeset two lines of lyrics in songs with repeats, see
1516 @file{input/star-spangled-banner.ly}.
1522 Make beat or measure repeats. These look like percent signs.
1528 * Manual repeat commands::
1530 * Tremolo subdivisions::
1535 @subsection Repeat syntax
1537 The syntax for repeats is
1540 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1543 If you have alternative endings, you may add
1544 @cindex @code{\alternative}
1546 \alternative @code{@{} @var{alternative1}
1548 @var{alternative3} @dots{} @code{@}}
1550 where each @var{alternative} is a music expression.
1552 Normal notation repeats are used like this:
1553 @lilypond[fragment,verbatim]
1555 \repeat volta 2 { c'4 d' e' f' }
1556 \repeat volta 2 { f' e' d' c' }
1559 With alternative endings:
1560 @lilypond[fragment,verbatim]
1562 \repeat volta 2 {c'4 d' e' f'}
1563 \alternative { {d'2 d'} {f' f} }
1566 Folded repeats look like this:
1569 @lilypond[fragment,verbatim]
1571 \repeat fold 2 {c'4 d' e' f'}
1572 \alternative { {d'2 d'} {f' f} }
1576 If you don't give enough alternatives for all of the repeats, then
1577 the first alternative is assumed to be repeated often enough to equal
1578 the specified number of repeats.
1580 @lilypond[fragment,verbatim]
1584 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1585 \alternative { { g4 g g } { a | a a a a | b2. } }
1592 Notice that timing information is not remembered at the start of an
1593 alternative, so you have to reset timing information after a repeat,
1594 e.g. using a bar-check (See @ref{Bar check}), setting
1595 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1596 are also not repeated.
1598 It is possible to nest @code{\repeat}s, although this probably is only
1599 meaningful for unfolded repeats.
1601 Folded repeats offer little more over simultaneous music. However, it
1602 is to be expected that more functionality -- especially for the MIDI
1603 backend -- will be implemented at some point in the future.
1605 Volta repeats are printed over all staves in a score. You must turn them
1606 off explicitly, for example by doing
1608 \property Staff.VoltaBracket = \turnOff
1610 in all but the top staff.
1612 @node Manual repeat commands
1613 @subsection Manual repeat commands
1615 @cindex @code{repeatCommands}
1617 The property @code{repeatCommands} can be used to control the layout of
1618 repeats. Its value is a Scheme list of repeat commands, where each repeat
1626 @item (volta . @var{text})
1627 Print a volta bracket saying @var{text}.
1629 Stop a running volta bracket
1632 @lilypond[verbatim, fragment]
1634 \property Score.repeatCommands = #'((volta "93") end-repeat)
1636 \property Score.repeatCommands = #'((volta #f))
1641 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1643 @node Tremolo repeats
1644 @subsection Tremolo repeats
1645 @cindex tremolo beams
1647 To place tremolo marks between notes, use @code{\repeat} with tremolo
1649 @lilypond[verbatim,center,singleline]
1651 \context Voice \notes\relative c' {
1652 \repeat "tremolo" 8 { c16 d16 }
1653 \repeat "tremolo" 4 { c16 d16 }
1654 \repeat "tremolo" 2 { c16 d16 }
1655 \repeat "tremolo" 4 c16
1660 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1661 @code{Voice.StemTremolo}.
1666 At present, the spacing between tremolo beams is not regular, since the
1667 spacing engine does not notice that not all notes are printed.
1669 @node Tremolo subdivisions
1670 @subsection Tremolo subdivisions
1671 @cindex tremolo marks
1672 @cindex @code{tremoloFlags}
1674 Tremolo marks can be printed on a single note by adding
1675 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1676 A @var{length} value of 8 gives one line across the note stem. If the
1677 length is omitted, then then the last value (stored in
1678 @code{Voice.tremoloFlags}) is used.
1680 @lilypond[verbatim,fragment,center]
1681 c'2:8 c':32 | c': c': |
1687 Tremolos in this style do not carry over into the MIDI output.
1690 @node Measure repeats
1691 @subsection Measure repeats
1693 @cindex percent repeats
1694 @cindex measure repeats
1696 In the @code{percent} style, a note pattern can be repeated. It is
1697 printed once, and then the pattern is replaced with a special sign.
1698 Patterns of a one and two measures are replaced by percent-like signs,
1699 patterns that divide the measure length are replaced by slashes.
1701 @lilypond[verbatim,singleline]
1702 \context Voice { \repeat "percent" 4 { c'4 }
1703 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1707 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1708 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1712 You can not nest percent repeats, e.g. by filling in the first measure
1713 with slashes, and repeating that measure with percents.
1715 @node Rhythmic music
1716 @section Rhythmic music
1723 @node Rhythmic staves
1724 @subsection Rhythmic staves
1726 Sometimes you might want to show only the rhythm of a melody. This can
1727 be done with the rhythmic staff. All pitches of notes on such a staff
1728 are squashed, and the staff itself looks has a single staff line:
1730 @lilypond[fragment,relative,verbatim]
1731 \context RhythmicStaff {
1733 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1740 @section Piano music
1742 Piano music is an odd type of notation. Piano staves are two normal
1743 staves coupled with a brace. The staves are largely independent, but
1744 sometimes voices can cross between the two staves. The
1745 @code{PianoStaff} is especially built to handle this cross-staffing
1746 behavior. In this section we discuss the @code{PianoStaff} and some
1747 other pianistic peculiarities.
1750 * Automatic staff changes::
1751 * Manual staff switches::
1754 * Voice follower lines::
1758 @c . {Automatic staff changes}
1759 @node Automatic staff changes
1760 @subsection Automatic staff changes
1761 @cindex Automatic staff changes
1763 Voices can switch automatically between the top and the bottom
1764 staff. The syntax for this is
1766 \autochange @var{contexttype} @var{musicexp}
1768 This will switch the interpretation context of @var{musicexp} between a
1769 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1770 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1771 of pitch (central C is the turning point), and it looks ahead skipping
1772 over rests to switch rests in advance.
1774 @lilypond[verbatim,singleline]
1775 \score { \notes \context PianoStaff <
1776 \context Staff = "up" {
1777 \autochange Staff \context Voice = VA < \relative c' {
1778 g4 a b c d r4 a g } > }
1779 \context Staff = "down" {
1785 Note how spacer rests are used to prevent the bottom staff from
1786 terminating too soon.
1789 @node Manual staff switches
1790 @subsection Manual staff switches
1792 @cindex manual staff switches
1793 @cindex staff switch, manual
1795 Voices can be switched between staves manually, using the following command:
1797 \translator Staff = @var{staffname} @var{music}
1799 The string @var{staffname} is the name of the staff. It switches the
1800 current voice from its current staff to the Staff called
1801 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1804 The formal definition of this construct is obtuse, but for the sake of
1805 completeness we give it here.
1806 @cindex @code{\translator}
1808 \translator @var{contexttype} = @var{name}
1810 Formally, this construct is a music expression indicating
1811 that the context which is a direct child of the context of type
1812 @var{contexttype} should be shifted to a context of type
1813 @var{contexttype} and the specified name.
1821 Piano pedal instruction can be expressed using
1822 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1823 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1825 These identifiers are shorthands for spanner commands of the types
1826 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1828 @lilypond[fragment,verbatim]
1829 c''4 \spanrequest \start "Sustain" c''4
1830 c''4 \spanrequest \stop "Sustain"
1833 The symbols that are printed can be modified by setting
1834 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1835 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1841 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1847 @subsection Arpeggio
1850 @cindex broken arpeggio
1851 @cindex @code{\arpeggio}
1853 You can specify an arpeggio sign on a chord by attaching an
1854 @code{\arpeggio} to a note of the chord.
1857 @lilypond[fragment,relative,verbatim]
1858 \context Voice <c\arpeggio e g c>
1861 When an arpeggio crosses staves in piano music, you attach an arpeggio
1862 to the chords in both staves, and set
1863 @code{PianoStaff.connectArpeggios}.
1865 @lilypond[fragment,relative,verbatim]
1866 \context PianoStaff <
1867 \property PianoStaff.connectArpeggios = ##t
1868 \context Voice = one { <c'\arpeggio e g c> }
1869 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1873 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1874 are @code{PianoStaff.Arpeggio}.
1878 It is not possible to mix connected arpeggios and unconnected arpeggios
1883 @node Voice follower lines
1884 @subsection Voice follower lines
1886 @cindex follow voice
1887 @cindex staff switching
1890 @cindex @code{followVoice}
1892 Whenever a voice switches to another staff a line connecting the notes
1893 can be printed automatically. This is enabled if the property
1894 @code{PianoStaff.followVoice} is set to true:
1896 @lilypond[fragment,relative,verbatim]
1897 \context PianoStaff <
1898 \property PianoStaff.followVoice = ##t
1899 \context Staff \context Voice {
1901 \translator Staff=two
1904 \context Staff=two {\clef bass \skip 1*2 }
1908 The associated grob is @code{Voice.VoiceFollower}.
1918 * Automatic syllable durations::
1924 @subsection Lyrics mode
1927 To print lyrics, you must first make a music expression from the lyric
1928 text. That music expression can be printed by selecting an appropriate
1932 @cindex @code{\lyrics}
1934 You can enter lyrics in a special input mode of LilyPond. This mode is
1935 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1936 The purpose of this mode is that you can enter lyrics as plain text,
1937 punctuation and accents without any hassle.
1939 Syllables are entered like notes, with pitches replaced by text. For
1940 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1941 the hyphen has no special meaning for lyrics, and does not introduce
1944 Spaces can be introduced into a lyric either by using quotes:
1945 @code{"He could"4 not4} or by using an underscore without quotes:
1946 @code{He_could4 not4}. All unquoted underscores are converted to
1949 The precise definition of this mode can be found in @ref{Lyrics mode
1952 @c . {Printing lyrics}
1953 @node Printing lyrics
1954 @subsection Printing lyrics
1957 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1959 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
1961 @lilypond[verbatim,singleline]
1962 \addlyrics \notes \relative c' {
1964 \property Staff.automaticMelismata = ##t
1965 d'2 c4 b16 ( a g a b a b ) c a2
1966 b2 c4 b8 ( a16 g ) a4 g2 }
1967 \context Lyrics \lyrics {
1969 share the soft -- ware; }
1973 Notes and syllable durations are matched automatically. This is
1974 accomplished using @code{\addlyrics}, which is documented in
1975 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1976 the melody staff will cause slurs to be interpreted as melismata.
1978 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1981 @cindex lyric extender
1984 As you can see, extender lines are entered as @code{__}. This will
1985 create an extender, a line that extends over the entire duration of the
1986 lyric. This line will run all the way to the start of the next lyric,
1987 so you may want to shorten it by using a blank lyric (using @code{_}).
1988 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1993 If you want to have hyphens centered between syllables (rather than
1994 attached to the end of the first syllable) you can use the special
1995 `@code{-}@code{-}' lyric as a separate word between syllables. This
1996 will result in a hyphen whose length varies depending on the space
1997 between syllables. It will be centered between the syllables. The grob
1998 for this symbol is @code{LyricsVoice.LyricHyphen}.
2000 @cindex Lyric hyphen
2002 @node Automatic syllable durations
2003 @subsection Automatic syllable durations
2004 @cindex Automatic syllable durations
2006 @cindex automatic lyric durations
2007 @cindex @code{\addlyrics}
2009 If you have lyrics that are set to a melody, you can copy the rhythm
2010 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2013 \addlyrics @var{musicexpr1 musicexpr2}
2016 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2017 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2018 when there are events in @var{musicexpr1}.
2020 @cindex @code{automaticMelismata}
2022 If the property @code{automaticMelismata} is set in the
2023 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2026 @lilypond[verbatim,fragment]
2029 \property Voice.automaticMelismata = ##t
2030 c8 () cis d8. e16 f2
2032 \context Lyrics \lyrics {
2036 If you want the lyric lines to be above the melody staff, or in some
2037 other, more complex configuration, then build that configuration first
2038 using simultaneous music, and use @code{\addlyrics} after that.
2040 @lilypond[verbatim, singleline]
2042 \context Lyrics = LA { s1 }
2043 \context Staff = SA { s1 }
2045 \context Staff = SA \relative c' { c4 e g g }
2046 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2049 For @code{\addlyrics} you should use a single rhythm melody, and single
2050 rhythm lyrics (a constant duration is the obvious choice). If you do
2051 not, you can get undesired effects when using multiple stanzas:
2053 @lilypond[verbatim,fragment]
2056 c8 () cis d8. e16 f2
2058 \context Lyrics \lyrics
2063 It is valid (but probably not very useful) to use notes instead of
2064 lyrics for @var{musicexpr2}.
2067 @subsection More stanzas
2071 If you have multiple stanzas printed underneath each other, the vertical
2072 groups of syllables should be aligned around punctuation. LilyPond can
2073 do this if you tell it which lyric lines belong to which melody.
2075 To this end, give the Voice context an identity, and set the LyricsVoice
2076 to a name starting with that identity followed by a dash.
2077 In the following example, the Voice
2078 identity is @code{duet}, and the identities of the LyricsVoices are
2079 @code{duet-1} and @code{duet-2}.
2082 @lilypond[singleline,verbatim]
2085 \notes \relative c'' \context Voice = duet { \time 3/4
2087 \lyrics \context Lyrics <
2088 \context LyricsVoice = "duet-1" {
2089 \property LyricsVoice . stanza = "Bert"
2090 Hi, my name is bert. }
2091 \context LyricsVoice = "duet-2" {
2092 \property LyricsVoice . stanza = "Ernie"
2093 Ooooo, ch\'e -- ri, je t'aime. }
2098 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2099 first system) and @code{LyricsVoice.stz} for the following
2100 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2106 @cindex stanza numbering
2114 LilyPond has support for both entering and printing chords. Chords are
2115 characterized by a set of pitches. They are
2116 internally stored as simultaneous music expressions. This means you can
2117 enter chords by name and print them as note head, enter them as notes
2118 and print them as chord names, or (the most common case) enter them by
2119 name, and print them as name.
2122 @lilypond[verbatim,singleline]
2123 twoWays = \notes \transpose c'' {
2133 < \context ChordNames \twoWays
2134 \context Voice \twoWays > }
2137 Note that this example also shows that the chord printing routines do
2138 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2139 interpret this as an inversion.
2143 * Printing named chords::
2148 @subsection Chords mode
2151 Chord mode is a mode where you can input sets of pitches using common
2152 names. It is introduced by the keyword @code{\chords}. It is similar
2153 to note mode, but words are also looked up in a chord modifier table
2154 (containing @code{maj}, @code{dim}, etc).
2156 Dashes and carets are used to indicate chord additions and subtractions,
2157 so articulation scripts can not be entered in Chord mode.
2159 The syntax for named chords is as follows:
2161 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2164 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2165 the chord duration in the usual notation. There are two kinds of
2166 modifiers. One type is formed by @emph{chord additions}. Additions are
2167 obtained by listing intervals separated by dots. An interval is written
2168 by its number with an optional @code{+} or @code{-} to indicate raising
2169 or lowering by half a step. Chord additions have two effects: they adds
2170 the specified interval and all lower odd numbered intervals to the
2171 chord, and they may lower or raise the specified interval.
2173 Throughout these examples, chords have been shifted around the staff
2174 using @code{\transpose}.
2176 @lilypond[fragment,verbatim]
2180 c:9 c:9-.5+.7+ c:3-.5-
2190 The second type of modifier that may appear after the @code{:} is a
2191 named modifier. Named modifiers are listed in the file
2192 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2193 @code{min} which lower the 3rd half a step, `@code{aug}' which
2194 raises the 5th, `@code{dim}' which lowers the 5th,
2195 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2196 which replaces the 5th with a 4th.
2198 @lilypond[fragment,verbatim]
2201 c1:m c:min7 c:maj c:aug c:dim c:sus
2207 Chord subtractions are used to eliminate notes from a chord. The
2208 notes to be subtracted are listed after a @code{^} character,
2211 @lilypond[fragment,verbatim,center]
2220 Chord inversions can be specified by appending `@code{/}' and the name
2221 of a single note to a chord. In a chord inversion, the inverted note is
2222 transposed down until it is the lowest note in the chord. If the note
2223 is not in the chord, a warning will be printed.
2225 @lilypond[fragment,verbatim,center]
2235 Bass notes can be added by `@code{/+}' and
2236 the name of a single note to a chord. This has the effect of
2237 adding the specified note to the chord, lowered by an octave,
2238 so it becomes the lowest note in the chord.
2240 @lilypond[fragment,verbatim,center]
2251 Implementation details are quite gory. For example @code{c:4} not only
2252 adds a fourth, but also removes the third.
2255 @c . {Printing named chords}
2256 @node Printing named chords
2257 @subsection Printing named chords
2259 @cindex printing chord names
2262 @cindex @code{ChordNames}
2265 For displaying printed chord names, use the @code{ChordNames} context.
2266 The chords may be entered either using the notation described above, or
2267 directly using simultaneous music.
2269 @lilypond[verbatim,singleline]
2271 \chords {a1 b c} <d f g> <e g b>
2275 \context ChordNames \scheme
2276 \context Staff \transpose c'' \scheme
2281 You can make the chord changes stand out by setting
2282 @code{ChordNames.chordChanges} to true. This will only display chord
2283 names when there's a change in the chords scheme and at the start of a
2288 c1:m c:m \break c:m c:m d
2292 \context ChordNames {
2293 \property ChordNames.chordChanges = ##t
2295 \context Staff \transpose c'' \scheme
2299 LilyPond examines chords specified as lists of notes to determine a name
2300 to give the chord. LilyPond will not try to identify chord inversions or
2301 an added bass note, which may result in strange chord names when chords
2302 are entered as a list of pitches:
2304 @lilypond[verbatim,center,singleline]
2313 \context ChordNames \scheme
2314 \context Staff \scheme
2320 By default, a chord name system proposed by Harald Banter (See
2321 @ref{Literature}) is used. The system is very regular and predictable.
2322 Typical American style chord names may be selected by setting the
2323 @code{style} property of the @code{ChordNames.ChordName} grob to
2324 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2326 Routines that determine the names to be printed are written in Scheme,
2327 and may be customized by the user. The code can be found in
2328 @file{scm/chord-name.scm}. Here's an example showing the differences in
2332 @c maybe just junk verbatim option?
2333 @lilypond[verbatim,singleline]
2343 \context ChordNames = banter \scheme
2344 \context ChordNames = american {
2345 \property ChordNames.ChordName \override
2346 #'style = #'american \scheme }
2347 \context ChordNames = jazz {
2348 \property ChordNames.ChordName \override
2349 #'style = #'jazz \scheme }
2350 \context Staff \transpose c'' \scheme
2357 @section Writing parts
2359 Orchestral music involves some special notation, both in the full score,
2360 as in the individual parts. This section explains how to tackle common
2361 problems in orchestral music.
2368 * Instrument names::
2370 * Sound output for transposing instruments::
2371 * Multi measure rests::
2372 * Automatic part combining::
2373 * Hara kiri staves::
2376 @c . {Rehearsal marks}
2377 @node Rehearsal marks
2378 @subsection Rehearsal marks
2379 @cindex Rehearsal marks
2381 @cindex @code{\mark}
2382 @cindex @code{Mark_engraver}
2385 \mark @var{unsigned}
2390 This command prints a rehearsal mark above the system. You can provide
2391 a number, a string or a markup text as argument. If you use
2392 @code{\default}, the value of property @code{rehearsalMark} is used and
2393 automatically incremented.
2395 @lilypond[fragment,verbatim]
2401 c1 \mark #'(music "scripts-segno")
2406 The grob is @code{Score.RehearsalMark}. See
2407 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2410 @subsection Bar numbers
2412 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2413 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2417 It is not possible to have bar numbers printed at regular intervals
2420 @node Instrument names
2421 @subsection Instrument names
2423 You can specify an instrument name for a staff by setting
2424 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2425 before the start of the staff. For the first start, @code{instrument} is
2426 used, for the next ones @code{instr} is used.
2428 @lilypond[verbatim,singleline]
2429 \property Staff.instrument = "ploink " { c''4 }
2432 You can also use markup texts to construct more complicated instrument
2436 @lilypond[verbatim,singleline]
2438 '((font-relative-size . -2 ) (music "accidentals--1")))
2441 \property Staff.instrument = #`((kern . 0.5) (lines
2442 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2450 When you put a name on a grand staff or piano staff the width of the
2451 brace is not taken into account. You must add extra spaces to the end of
2452 the name to avoid a collision.
2455 @subsection Transpose
2457 @cindex transposition of pitches
2458 @cindex @code{\transpose}
2460 A music expression can be transposed with @code{\transpose}. The syntax
2463 \transpose @var{pitch} @var{musicexpr}
2466 This means that middle C in @var{musicexpr} is transposed to
2469 @code{\transpose} distinguishes between enharmonic pitches: both
2470 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2471 a tone. The first version will print sharps and the second version
2474 @lilypond[fragment,verbatim]
2477 { \key e \major c d e f }
2479 \transpose des'' { \key e \major c d e f }
2480 \transpose cis'' { \key e \major c d e f }
2484 If you want to use both @code{\transpose} and @code{\relative}, then
2485 you must use @code{\transpose} first. @code{\relative} will have no
2486 effect music that appears inside a @code{\transpose}.
2488 @node Sound output for transposing instruments
2489 @subsection Sound output transposing instruments
2491 When you want to make a MIDI file from a score containing transposed and
2493 instruments, you have to instruct LilyPond the pitch offset (in
2494 semitones) for the transposed instruments. This is done using the
2495 @code{transposing} property. It does not affect printed output.
2497 @cindex @code{transposing}
2500 \property Staff.instrument = #"Cl. in B-flat"
2501 \property Staff.transposing = #-2
2504 @c . {Multi measure rests}
2505 @node Multi measure rests
2506 @subsection Multi measure rests
2507 @cindex Multi measure rests
2511 Multi measure rests are entered using `@code{R}'. It is specifically
2512 meant for full bar rests and for entering parts: the rest can expand to
2514 rests, or it can be printed as a single multimeasure rest This expansion
2515 is controlled by the property @code{Score.skipBars}. If this is set to true,
2516 Lily will not expand empty measures, and the appropriate number is added
2519 @lilypond[fragment,verbatim]
2520 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2523 Notice that the @code{R2.} is printed as a whole rest, centered in the
2526 @cindex whole rests for a full measure
2530 Currently, there is no way to automatically condense multiple rests into
2531 a single multimeasure rest.
2533 @cindex condensing rests
2535 @node Automatic part combining
2536 @subsection Automatic part combining
2537 @cindex automatic part combining
2538 @cindex part combiner
2541 Automatic part combining is used to merge two parts of music onto a
2542 staff in an intelligent way. It is aimed primarily at typesetting
2543 orchestral scores. When the two parts are identical for a period of
2544 time, only one is shown. In places where the two parts differ, they are
2545 typeset as separate voices, and stem directions are set automatically.
2546 Also, solo and @emph{a due} parts can be identified and marked.
2548 The syntax for part combining is
2551 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2553 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2554 combined into one context of type @var{context}. The music expressions
2555 must be interpreted by contexts whose names should start with @code{one}
2558 The most useful function of the part combiner is to combine parts into
2559 one voice, as common for wind parts in orchestral scores:
2561 @lilypond[verbatim,singleline,fragment]
2563 \context Voice=one \partcombine Voice
2564 \context Thread=one \relative c'' {
2567 \context Thread=two \relative c'' {
2573 Notice that the first @code{g} appears only once, although it was
2574 specified twice (once in each part). Stem, slur and tie directions are
2575 set automatically, depending whether there is a solo or unisono. The
2576 first part (with context called @code{one}) always gets up stems, and
2577 `solo', while the second (called @code{two}) always gets down stems and
2580 If you just want the merging parts, and not the textual markings, you
2581 may set the property @var{soloADue} to false.
2583 @lilypond[verbatim,singleline,fragment]
2585 \property Staff.soloADue = ##f
2586 \context Voice=one \partcombine Voice
2587 \context Thread=one \relative c'' {
2590 \context Thread=two \relative c'' {
2596 There are a number of other properties that you can use to tweak the
2597 behavior of part combining, refer to the automatically generated
2598 documentation of @reng{Thread_devnull_engraver} and
2599 @reng{Voice_devnull_engraver}. Look at the documentation of the
2600 responsible engravers, @code{Thread_devnull_engraver},
2601 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2605 In @code{soloADue} mode, when the two voices play the same notes on and
2606 off, the part combiner may typeset @code{a2} more than once in a
2609 @lilypond[fragment,singleline]
2611 \context Voice=one \partcombine Voice
2612 \context Thread=one \relative c'' {
2615 \context Thread=two \relative c'' {
2621 @cindex @code{Thread_devnull_engraver}
2622 @cindex @code{Voice_engraver}
2623 @cindex @code{A2_engraver}
2625 @node Hara kiri staves
2626 @subsection Hara kiri staves
2628 In orchestral scores, staff lines that only have rests are usually removed.
2629 This saves some space. LilyPond also supports this through the hara
2630 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2631 the Japanese Samourai warriors.} staff. This staff commits suicide when
2632 it finds itself to be empty after the line-breaking process. It will
2633 not disappear when it contains normal rests, you must use multi measure
2636 The hara kiri staff is specialized version of the Staff context. It is
2637 available as the context identifier @code{\HaraKiriStaffContext}.
2638 Observe how the second staff in this example disappears in the second
2643 \notes \relative c' <
2644 \context Staff = SA { e4 f g a \break c1 }
2645 \context Staff = SB { c4 d e f \break R1 }
2649 \translator { \HaraKiriStaffContext }
2662 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2663 staff context symbol that appears at the end of a staff line. It
2664 anticipates the pitch of the first note(s) of the following line and
2665 thus helps the player or singer to manage line breaks during
2666 performance, thus enhancing readability of a score.
2671 \property Staff.Custos \set #'style = #'mensural
2676 \consists Custos_engraver
2682 Custodes were frequently used in music notation until the 17th century.
2683 There were different appearances for different notation styles.
2684 Nowadays, they have survived only in special forms of musical notation
2685 such as via the @emph{editio vaticana} dating back to the beginning of
2688 For typesetting custodes, just put a @code{Custos_engraver} into the
2689 @code{StaffContext} when declaring the @code{\paper} block. In this
2690 block, you can also globally control the appearance of the custos symbol
2691 by setting the custos @code{style} property. Currently supported styles
2692 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2699 \consists Custos_engraver
2700 Custos \override #'style = #'mensural
2705 The property can also be set locally, for example in a @code{\notes}
2710 \property Staff.Custos \override #'style = #'vaticana
2711 c'1 d' e' d' \break c' d' e' d'
2715 @c . {Tuning output}
2717 @section Tuning output
2719 LilyPond tries to take as much formatting as possible out of your
2720 hands. Nevertheless, there are situations where it needs some help, or
2721 where you want to override its decisions. In this section we discuss
2722 ways to do just that.
2724 Formatting is internally done by manipulating so called grobs (graphic
2725 objects). Each grob carries with it a set of properties (grob
2726 properties) specific to that object. For example, a stem grob has
2727 properties that specify its direction, length and thickness.
2729 The most direct way of tuning the output is by altering the values of
2730 these properties. There are two ways of doing that: first, you can
2731 temporarily change the definition of a certain type of grob, thus
2732 affecting a whole set of objects. Second, you can select one specific
2733 object, and set a grob property in that object.
2736 * Tuning groups of grobs ::
2737 * Tuning per grob ::
2745 @node Tuning groups of grobs
2746 @subsection Tuning groups of grobs
2748 @cindex grob description
2752 A grob definition is a Scheme association list, that is stored in a
2753 context property. By assigning to that property (using plain
2754 @code{\property}), you can change the resulting grobs.
2756 @lilypond[verbatim, fragment]
2757 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2760 The @code{\property} assignment effectively empties the definition of
2761 the Stem object. One of the effects is that the recipe of how it should be
2762 printed is erased, with the effect of rendering it invisible. The above
2763 assignment is available as a standard identifier, for the case that you
2767 \property Voice.Stem = \turnOff
2774 This mechanism is fairly crude, since you can only set, but not modify,
2775 the definition of a grob. For this reason, there is a more advanced
2778 The definition of a grob is actually a list of default grob
2779 properties. For example, the definition of the Stem grob (available in
2780 @file{scm/grob-description.scm}), defines the following values for
2785 (beamed-lengths . (0.0 2.5 2.0 1.5))
2786 (Y-extent-callback . ,Stem::height)
2790 You can add a property on top of the existing definition, or remove a
2791 property, thus overriding the system defaults:
2793 c'4 \property Voice.Stem \override #'thickness = #4.0
2794 c'4 \property Voice.Stem \revert #'thickness
2797 You should balance @code{\override} and @code{\revert}. If that's too
2798 much work, you can use the @code{\set} shorthand. It performs a revert
2799 followed by an override. The following example gives exactly the same
2800 result as the previous one.
2802 c'4 \property Voice.Stem \set #'thickness = #4.0
2803 c'4 \property Voice.Stem \set #'thickness = #0.8
2806 If you use @code{\set}, you must explicitly restore the default.
2809 Formally the syntax for these constructions is
2811 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2812 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2813 \property @var{context}.@var{grobname} \revert @var{symbol}
2815 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2816 and @var{grobname} are strings and @var{value} is a Scheme expression.
2819 If you revert a setting which was not set in the first place, then it
2820 has no effect. However, if the setting was set as a system default, it
2821 may remove the default value, and this may give surprising results,
2822 including crashes. In other words, @code{\override} and @code{\revert},
2823 must be carefully balanced.
2825 These are examples of correct nesting of @code{\override}, @code{\set},
2828 A clumsy but correct form:
2830 \override \revert \override \revert \override \revert
2833 Shorter version of the same:
2835 \override \set \set \revert
2838 A short form, using only @code{\set}. This requires you to know the
2841 \set \set \set \set @var{to default value}
2844 If there is no default (i.e. by default, the grob property is unset),
2847 \set \set \set \revert
2850 For the digirati, the grob description is an Scheme association
2851 list. Since a Scheme list is a singly linked list, we can treat it as a
2852 stack, and @code{\override} and @code{\revert} are just push and pop
2853 operations. This pushing and popping is also used for overriding
2854 automatic beaming settings.
2858 LilyPond will hang or crash if @var{value} contains cyclic references.
2859 The backend is not very strict in type-checking grob properties. If you
2860 @code{\revert} properties that are expected to be set by default,
2863 Some grobs are created at the moment that their context is created. An
2864 example of such a grob is the staff itself (i.e. the horizontal lines).
2865 You can not change the appearance of the staff symbol by manipulating
2866 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2867 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2868 created before any @code{\override} is effective. You can deal with this
2869 either overriding properties in a @code{\translator} definition, or by
2870 using @code{\outputproperty}.
2875 @node Tuning per grob
2876 @subsection Tuning per grob
2878 @cindex \outputproperty
2880 A second way of tuning grobs is the more arcane @code{\outputproperty}
2881 feature. The syntax is as follows:
2883 \outputproperty @var{predicate} @var{symbol} = @var{value}
2885 Here @code{predicate} is a Scheme function taking a grob argument, and
2886 returning a boolean. This statement is processed by the
2887 @code{Output_property_engraver}. It instructs the engraver to feed all
2888 grobs that it sees to @var{predicate}. Whenever the predicate returns
2889 true, the grob property @var{symbol} will be set to @var{value}.
2891 You will need to combine this statement with @code{\context} to select
2892 the appropriate context to apply this to.
2894 Here are some random examples.
2897 In the following example, all note heads occurring at current staff
2898 level, are shifted up and right by setting their @code{extra-offset}
2901 @lilypond[fragment,verbatim,singleline]
2903 \context Staff \outputproperty
2904 #(make-type-checker 'note-head-interface)
2905 #'extra-offset = #'(0.5 . 0.75)
2909 @cindex @code{extra-offset}
2911 In this example, the predicate checks the @code{text} grob property, to
2912 shift only the `m.d.' text, but not the fingering instruction "2".
2913 @lilypond[verbatim,singleline]
2914 #(define (make-text-checker text)
2915 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2918 \notes\relative c''' {
2919 \property Voice.Stem \set #'direction = #1
2920 \outputproperty #(make-text-checker "m.d.")
2921 #'extra-offset = #'(-3.5 . -4.5)
2929 If possible, avoid this feature: the semantics are not very clean, and
2930 the syntax and semantics are up for rewrite.
2936 @subsection What to tune?
2938 This all tells you how to tune grobs, but you don't know what variables
2939 to set? The question is not answered in this part of the manual
2940 (although you may encounter some examples.).
2942 Grob properties are tied directly to the implementation of LilyPond, and
2943 they are thus a moving target. Documentation of such variables is in the
2944 automatically generated documentation. Description of properties are
2945 generated from the source code for each version. This documentation is
2946 therefore more up to date. It should be available from the same place
2947 where you got this manual.
2949 To decide how to tune a grob, you need to find the following information
2952 which grob to modify
2954 which property to modify
2956 which context the grob comes from.
2959 Included with the automatically generated documentation is a master list
2960 of grobs. Selecting a grob will take you to an overview of the
2961 properties available for that grob.
2963 There is also a master list of contexts. Selecting one takes you to an
2964 overview of that context which lists which grob types are created there.
2967 @node Font selection
2968 @subsection Font selection
2970 Most graphics in LilyPond are composed of characters of fonts. You can
2971 alter the characteristics of the font by setting certain grob
2972 properties. The mechanism that is used for this resembles La@TeX{}'s New
2973 Font Selection Scheme. Within this scheme, a font is entirely
2974 characterized by its font name.
2976 For each grob that uses fonts (in other words, each grob that supports
2977 @code{font-interface}) a font-name must be selected before it can be
2978 printed. The font name is selected by looking at a number of grob
2983 A symbol indicating the general class of the typeface. Supported are
2984 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2985 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2986 signs) and @code{typewriter}
2989 A symbol indicating the shape of the font, there are typically several
2990 font shapes available for each font family. Choices are @code{italic},
2991 @code{caps} and @code{upright}
2994 A symbol indicating the series of the font. There are typically several
2995 font series for each font family and shape. Choices are @code{medium}
2998 @item font-relative-size
2999 A number indicating the size relative the standard size. For example,
3000 with 20pt staff height, relative size -1 corresponds to 16pt staff
3001 height, and relative size +1 corresponds to 23 pt staff height.
3003 @item font-design-size
3004 A number indicating the design size of the font.
3006 This is a feature of the Computer Modern Font: each point size has a
3007 slightly different design. Smaller design sizes are relatively wider,
3008 which enhances readability. Scalable type faces such TrueType and Adobe
3009 Type1 usually come as ``one design fits all sizes''.
3012 The name of the font, without the design size, e.g. @code{cmr},
3013 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3018 The font is selected by taking the first font that satisfies all
3019 qualifiers specified. You can override any of these fields through
3020 @code{\override} and @code{\revert}. The special value @code{*} matches
3021 any value for that qualifier.
3024 \property Lyrics.LyricText \override #'font-series = #'bold
3025 \property Lyrics.LyricText \override #'font-shape = #'*
3028 @cindex @code{font-style}
3030 There are also pre-cooked font selection qualifiers. These are selected
3031 through the grob property @code{font-style}. For example, the style
3032 @code{finger} selects family @code{number} and relative size @code{-3}.
3033 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3034 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3037 The style sheets and tables for selecting fonts are located in
3038 @file{scm/font.scm}. Refer to this file for more information.
3042 Relative size is not linked to any real size.
3044 There is no mechanism to select magnification of particular fonts,
3045 meaning that you don't have access to continuously scaled fonts. You
3046 can scale the entire output, of course, see @ref{Output scaling}.
3048 There is no style sheet provided for other fonts besides the @TeX{}
3051 @cindex font selection
3052 @cindex font magnification
3053 @cindex @code{font-interface}
3057 @subsection Text markup
3061 LilyPond has an internal mechanism to typeset texts. You can
3062 form text markup expressions by composing scheme expressions
3063 in the following way.
3065 @lilypond[verbatim, singleline]
3070 c^#'(italic "italic")
3071 d_#'((bold italic) "ff")
3073 f_#'(lines "one" (bold "two"))
3074 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3078 Normally, the Scheme markup text is stored in the @code{text} property
3079 of a grob. Formally, it is defined as follows:
3082 text: string | (head? text+)
3083 head: markup | (markup+)
3084 markup-item: property | abbrev
3085 property: (@var{key} . @var{value})
3086 abbrev: @code{columns lines roman music bold italic named super sub}
3087 @code{overstrike text finger volta timesig mmrest mark script}
3088 @code{large Large dynamic}
3091 The markup is broken down and converted into a list of grob properties,
3092 which are prepended to the property list. The @var{key}-@var{value}
3093 pair is a grob property. A list of properties available is included in
3094 the generated documentation for @rint{Text_interface}.
3096 The following abbreviations are currently defined:
3099 horizontal mode: set all text on one line (default)
3101 vertical mode: set every text on a new line
3105 selects the Feta font (the standard font for music notation glyphs),
3106 and uses named lookup
3113 lookup by character name
3115 plain text lookup (by character value)
3121 the next text or character overstrikes this one
3123 select fingering number fontstyle
3125 select volta number fontstyle
3127 select time signature number fontstyle
3129 select multi measure rest number fontstyle
3131 select mark number fontstyle
3133 select scriptsize roman fontstyle
3135 select large roman fontstyle
3137 select Large roman fontstyle
3139 select dynamics fontstyle
3143 @cindex metronome mark
3145 One practical application of complicated markup is to fake a metronome
3149 #(define note '(columns
3150 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3151 #(define eight-note `(columns ,note ((kern . -0.1)
3152 (music ((raise . 3.5) "flags-u3")))))
3153 #(define dotted-eight-note
3154 `(columns ,eight-note (music "dots-dot")))
3157 \notes\relative c'' {
3158 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3164 TextScript \override #'font-shape = #'upright
3170 @node Invisible grobs
3171 @subsection Invisible grobs
3172 @cindex invisible grobs
3176 ben nog steeds niet kapot van de informatiedichtheid hier.
3182 You can imagine a number of situations where you would want to make
3183 certain grobs not show up in the output. There may be aesthetic
3184 reasons, to make the output resemble an (old) manuscript as close as
3185 possible, or to make lessons or exercises for students.
3187 Grobs can be made invisible in a number of ways:
3189 Here's an example with blanked-out notes and stems:
3190 @lilypond[singleline,verbatim]
3192 \property Voice.NoteHead \override
3194 \property Voice.Stem \override
3195 #'transparent = ##t }
3198 \property Voice.NoteHead \revert #'transparent
3199 \property Voice.Stem \revert #'transparent }
3202 \notes\relative c'' {
3204 a b c b \blanknotes c \unblanknotes d
3208 This method makes the grobs invisible but they still take the normal space.
3209 To remove all traces of the grob, you can redefine the function
3213 \notes\relative c'' {
3216 as bes c bes c d \break
3217 \property Staff.KeySignature \override #'molecule-callback = #'()
3220 \paper{linewidth=5.0\cm indent=0}
3224 A very rigorous way of removing grobs from the whole score is to remove
3225 the engraver that creates them. For example,
3227 @lilypond[singleline,verbatim]
3228 \score {\notes { c'4 d'8 e'8 g2 }
3229 \paper { \translator {
3231 \remove Stem_engraver
3237 @subsection Dirty tricks
3238 @cindex embedded tex
3240 It is possible to use @TeX{} commands in the strings, but this should be
3241 avoided because it makes it impossible for LilyPond to compute the
3242 exact length of the string, which may lead to collisions. Also, @TeX{}
3243 commands won't work with direct PostScript output (see @ref{PostScript
3246 @lilypond[fragment,relative,verbatim]
3247 a'^"3 $\\times$ \\`a deux"
3250 You can also use raw PostScript commands embedded in text scripts. This
3251 offers ultimate flexibility, but requires you to learn PostScript.
3252 Currently, embedded PostScript will @strong{not} work with direct
3253 PostScript output. Note that all dimensions that you use are in staff
3258 \notes \relative c'' {
3259 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3260 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3261 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3265 \paper { linewidth = 70*\staffspace }
3272 @section Page layout
3275 The page layout is the combined product of LilyPond formatting notation,
3276 and (La)@TeX{} putting the notation on a page, including page breaks.
3277 The part of LilyPond is documented here.
3291 @subsection Paper block
3294 The most important output definition is the @code{\paper} block, for
3295 music notation. The syntax is
3298 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3301 where each of the items is one of
3304 @item An assignment.
3306 @item A context definition. See @ref{Interpretation context} for
3307 more information on context definitions.
3309 @item \stylesheet declaration. Its syntax is
3311 \stylesheet @var{alist}
3314 See @file{scm/font.scm} for details of @var{alist}.
3315 @item an @code{\elementdescriptions} declaration.
3317 \elementdescriptions @var{alist}
3319 See @file{scm/grob-description.scm} for details of
3320 @var{alist}. This command is not user-serviceable.
3324 @c . {Paper variables}
3325 @node Paper variables
3326 @subsection Paper variables
3327 @cindex Paper variables
3329 The paper block has some variables you may want to use or change:
3332 @cindex @code{indent}
3334 The indentation of the first line of music.
3335 @cindex @code{staffspace}
3337 @item @code{staffspace}
3338 The distance between two staff lines, calculated from the center
3341 @cindex @code{linewidth}
3342 @item @code{linewidth}
3343 Sets the width of the lines.
3345 If set to a negative value, a single unjustified line is produced.
3346 @c rename to singleLinePaper ?
3347 The shorthand @code{\singleLine} defines a default paper block that
3348 produces a single line.
3350 @cindex @code{textheight}
3352 @item @code{textheight}
3353 Sets the total height of the music on each page. Only used by
3356 @cindex @code{interscoreline}
3358 @item @code{interscoreline}
3359 Sets the spacing between systems. The default is 16pt.
3361 @cindex @code{interscorelinefill}
3363 @item @code{interscorelinefill}
3364 If set to a positive number, the distance between the score
3365 lines will stretch in order to fill the full page. In that
3366 case @code{interscoreline} specifies the minimum spacing.
3371 @cindex @code{stafflinethickness}
3373 @item @code{stafflinethickness}
3374 Determines the thickness of staff lines, and also acts as a scaling
3375 parameter for other line thicknesses.
3378 You may enter these dimension using units (@code{cm}, @code{in},
3379 @code{mm}, @code{pt}), or relative to another dimension
3381 linewidth = 20.0 * \staffspace
3388 @subsection Font size
3391 The Feta font provides musical symbols at six different sizes. These
3392 fonts are 11 point, 13 point, 16 point, 20 point,
3393 23 point, and 26 point. The point size of a font is the
3394 height of the five lines in a staff when displayed in the font.
3396 Definitions for these sizes are the files @file{paperSZ.ly}, where
3397 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3398 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3399 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3400 @code{paperTwentysix} are defined respectively. The default
3401 @code{\paper} block is also set.
3403 The font definitions are generated using a Scheme function. For more
3404 details, see the file @file{scm/font.scm}.
3410 @subsection Paper size
3415 @cindex @code{papersize}
3417 To change the paper size, you must first set the
3418 @code{papersize} variable at top level. Set it to
3419 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3420 specification, you must set the font as described above. If you want
3421 the default font, then use the 20 point font.
3425 \include "paper16.ly"
3428 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3429 will set the paper variables @code{hsize} and @code{vsize} (used by
3434 @subsection Line break
3437 @cindex breaking lines
3439 Line breaks are normally computed automatically. They are chosen such
3440 that the resulting spacing has low variation, and looks neither cramped
3443 Occasionally you might want to override the automatic breaks; you can do
3444 this by specifying @code{\break}. This will force a line break at this
3445 point. Do remember that line breaks can only occur at places where there
3446 are bar lines. If you want to have a line break where there is no
3447 bar line, you can force an invisible bar line by entering @code{\bar
3448 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3450 @cindex @code{\penalty}
3452 The @code{\break} and @code{\noBreak} commands are defined in terms of
3453 the penalty command:
3458 This encourages or discourages LilyPond to make a line break at this
3463 The scaling of the @code{\penalty} argument is not well-defined. The
3464 command is rather kludgey, and slated for rewriting.
3468 @subsection Page break
3471 @cindex breaking pages
3473 Page breaks are normally computed by @TeX{}, so they are not under
3474 direct control of LilyPond. However, you can insert a commands into the
3475 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3476 the command @code{\newpage}
3477 @cindex @code{\newpage}
3483 @c why do so difficult?
3484 @c maybe should explain contents of between-system.ly,
3485 @c but not now, we're talking about page breaks here.
3487 @c details, see the example file @file{input/test/between-systems.ly}
3490 @c . {Output scaling}
3491 @node Output scaling
3492 @subsection Output scaling
3507 There is no mechanism to select magnification of particular fonts,
3508 meaning that you don't have access to continuously scaled fonts.
3512 @c . {Output formats}
3513 @node Output formats
3514 @section Output formats
3516 LilyPond can output processed music in different output formats.
3520 * PostScript output::
3522 * ASCIIScript output::
3526 @subsection TeX output
3529 LilyPond will use @TeX{} by default. Even if you want to produce
3530 PostScript output for viewing or printing, you should normally have
3531 LilyPond produce @TeX{} first. The .tex output must be processed by
3532 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3533 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3534 used to generate the .dvi for you.
3538 Titling is not generated unless you use @file{ly2dvi}.
3541 @node PostScript output
3542 @subsection PostScript output
3543 @cindex PostScript output
3544 @cindex direct PostScript output
3546 LilyPond can produce PostScript directly, without going through @TeX{}.
3547 Currently, this is mainly useful if you cannot use TeX, because direct
3548 PostScript output has some problems; see Bugs below.
3551 $ lilypond -fps foo.ly
3552 GNU LilyPond 1.3.144
3553 Now processing: `foo.ly'
3555 Interpreting music...[3]
3556 Preprocessing elements...
3557 Calculating column positions...
3558 paper output to foo.ps...
3560 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3566 Text font selection is broken.
3568 The .ps file does not contain the .pfa font files. To print a .ps
3569 created through direct postscript output, you should prepend the
3570 necessary .pfa files to LilyPond's .ps output, or upload them to the
3571 printer before printing.
3573 The line height calculation is broken, you must set @var{lineheight} in
3574 the paperblock if you have more than one staff in your score, e.g.
3579 % Set line height to 40 staff spaces
3585 @subsection Scheme output
3586 @cindex Scheme output
3588 In the typesetting stage, LilyPond builds a page description, which is
3589 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3590 written, the page description is represented as Scheme expressions. You
3591 can also dump these Scheme expressions to a file, which may be
3592 convenient for debugging output routines. This is done with the Scheme
3596 $ lilypond -fscm foo.ly
3597 GNU LilyPond 1.3.144
3598 Now processing: `foo.ly'
3600 Interpreting music...[3]
3601 Preprocessing elements...
3602 Calculating column positions...
3603 paper output to foo.scm...
3606 ;;; Usage: guile -s x.scm > x.tex
3607 (primitive-load-path 'standalone.scm)
3611 $ guile -s foo.scm > foo.tex
3615 @node ASCIIScript output
3616 @subsection ASCIIScript output
3617 @cindex ASCIIScript output
3618 @cindex ascii script
3621 LilyPond can output ASCII Art. This is a two step process, LilyPond
3622 produces an ASCII description file, dubbed ASCIIScript (extension
3623 @file{.as}). ASCIIScript has a small and simple command set that
3624 includes font selection, character and string printing and line drawing
3625 commands. The program @file{as2text} is used to translate an .as file
3628 To produce ASCII Art, you must include an ASCII Art paper definition
3629 file in your .ly, one of:
3631 \include "paper-as5.ly"
3632 \include "paper-as9.ly"
3635 Here's an example use for ASCII Art output (the example file
3636 @file{as-email.ly} is included in the LilyPond distribution), the staff
3637 symbol has been made invisible:
3640 $ lilypond -fas as-email.ly
3641 GNU LilyPond 1.3.144
3642 Now processing: `as-email.ly'
3644 Interpreting music...[3]
3645 Preprocessing elements...
3646 Calculating column positions... [2]
3647 paper output to as-email.as...
3649 $ as2text as-email.as 2>/dev/null
3651 |/ |##|##| | | | | |
3652 /| | | | | |\ |\ |\ |\ |\ |
3653 / |_ 3 | | | | 5 | )| )| )| )| )|
3654 | /| \ 8 * * * | 8 * * * * * |
3664 The ASCII Art fonts are far from complete and not very well designed.
3665 It's easy to change the glyphs, though; if you think you can do better,
3666 have a look at @file{mf/*.af}.
3668 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3670 The poor looks of most ASCII Art output and its limited general
3671 usefulness gives ASCII Art output a low priority; it may be
3672 dropped in future versions.
3679 LilyPond can produce MIDI output. The performance lacks lots of
3680 interesting effects, such as swing, articulation, slurring, etc., but it
3681 is good enough for proof-hearing the music you have entered. Ties,
3682 dynamics and tempo changes are interpreted.
3684 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3685 levels. Dynamic marks translate to a fixed fraction of the available
3686 MIDI volume range, crescendi and decrescendi make the the volume vary
3687 linearly between their two extremities. The fractions be adjusted by
3688 overriding the @code{absolute-volume-alist} defined in
3689 @file{scm/midi.scm}.
3691 For each type of musical instrument (that MIDI supports), a volume range
3692 can be defined. This gives you basic equalizer control, which can
3693 enhance the quality of the MIDI output remarkably. You can add
3694 instruments and ranges or change the default settings by overriding the
3695 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3697 Both loudness controls are combined to produce the final MIDI volume.
3702 It is currently not possible to use the percussion channel (generally
3703 channel 10 of a MIDI file).
3707 * MIDI instrument names::
3712 @subsection MIDI block
3716 The MIDI block is analogous to the paper block, but it is somewhat
3717 simpler. The @code{\midi} block can contain:
3721 @item a @code{\tempo} definition
3722 @item context definitions
3725 Assignments in the @code{\midi} block are not allowed.
3729 @cindex context definition
3731 Context definitions follow precisely the same syntax as within the
3732 \paper block. Translation modules for sound are called performers.
3733 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3736 @node MIDI instrument names
3737 @subsection MIDI instrument names
3739 @cindex instrument names
3740 @cindex @code{Staff.midiInstrument}
3741 @cindex @code{Staff.instrument}
3743 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3744 property or, if that property is not set, the @code{Staff.instrument}
3745 property. The instrument name should be chosen from the list in
3746 @ref{MIDI instruments}.
3750 If the selected string does not exactly match, then LilyPond uses the
3751 default (Grand Piano). It is not possible to select an instrument by
3764 @section Music entry
3772 When entering music with LilyPond, it is easy to introduce errors. This
3773 section deals with tricks and features that help you enter music, and
3774 find and correct mistakes.
3778 @subsection Relative
3780 @cindex relative octave specification
3782 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3783 When you copy existing music, it is easy to accidentally put a pitch in
3784 the wrong octave and hard to find such an error. To prevent these
3785 errors, LilyPond features octave entry.
3787 @cindex @code{\relative}
3789 \relative @var{startpitch} @var{musicexpr}
3792 The octave of notes that appear in @var{musicexpr} are calculated as
3793 follows: If no octave changing marks are used, the basic interval
3794 between this and the last note is always taken to be a fourth or less
3795 (This distance is determined without regarding alterations; a
3796 @code{fisis} following a @code{ceses} will be put above the
3799 The octave changing marks @code{'} and @code{,} can be added to raise or
3800 lower the pitch by an extra octave. Upon entering relative mode, an
3801 absolute starting pitch must be specified that will act as the
3802 predecessor of the first note of @var{musicexpr}.
3804 Entering music that changes octave frequently is easy in relative mode.
3805 @lilypond[fragment,singleline,verbatim,center]
3811 And octave changing marks are used for intervals greater than a fourth.
3812 @lilypond[fragment,verbatim,center]
3814 c g c f, c' a, e'' }
3817 If the preceding item is a chord, the first note of the chord is used
3818 to determine the first note of the next chord. However, other notes
3819 within the second chord are determined by looking at the immediately
3822 @lilypond[fragment,verbatim,center]
3829 @cindex @code{\notes}
3831 The pitch after the @code{\relative} contains a note name. To parse
3832 the pitch as a note name, you have to be in note mode, so there must
3833 be a surrounding @code{\notes} keyword (which is not
3836 The relative conversion will not affect @code{\transpose},
3837 @code{\chords} or @code{\relative} sections in its argument. If you
3838 want to use relative within transposed music, you must place an
3839 additional @code{\relative} inside the @code{\transpose}.
3844 @subsection Bar check
3848 @cindex @code{barCheckNoSynchronize}
3852 Whenever a bar check is encountered during interpretation, a warning
3853 message is issued if it doesn't fall at a measure boundary. This can
3854 help you find errors in the input. Depending on the value of
3855 @code{barCheckNoSynchronize}, the beginning of the measure will be
3856 relocated, so this can also be used to shorten measures.
3858 A bar check is entered using the bar symbol, @code{|}:
3860 \time 3/4 c2 e4 | g2.
3863 @c . {Point and click}
3864 @node Point and click
3865 @subsection Point and click
3867 Point and click lets you find notes in the input by clicking on them in
3868 the Xdvi window. This makes it very easy to find input that causes some
3869 error in the sheet music.
3871 To use it, you need the following software
3873 @unnumberedsubsec Installation
3877 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3878 Xdvi} version 22.36 or newer.
3880 Note that most @TeX{} distributions ship with xdvik, which is a
3881 different and less well maintained program. To find out which xdvi you
3882 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3886 Xdvi must be configured to find the TeX fonts and music
3887 fonts. Refer to the Xdvi documentation for more information.
3890 @unnumberedsubsec Using it
3892 Add one of these lines to the top of your .ly file. The first one is for
3893 line location only. The second one is more convenient, but requires
3894 patching @code{emacsclient} and @code{server.el}.
3897 #(set! point-and-click line-location)
3900 In the emacs startup file (usually @file{~/.emacs}), add the following
3905 Make sure that the environment variable @code{XEDITOR} is set
3908 emacsclient --no-wait +%l %f
3910 The second one, that also specifies the column, only works if you have
3911 patched your emacsclient and server, and have compiled your @code{.ly}
3912 file using the @code{line-column-location} setting.
3914 When viewing, control-mousebutton 1 will take you to the originating
3915 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3919 @unnumberedsubsec Column location
3921 If you want emacs to jump to the exact spot (and not just the line) on a
3922 click, you must enable column positioning. To do so, you need to patch
3923 emacsclient. Apply @file{emacsclient.patch} (included with the source
3924 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3925 source code. Recompile and stick the recompiled emacsclient into a bin
3926 directory, and put @file{server.el} into a elisp directory
3927 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3928 init file, before invoking server-start.
3931 (setq load-path (cons "~/usr/share/emacs" load-path))
3934 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3936 At the top of the @code{ly} file, replace the @code{set!} line with the
3939 #(set! point-and-click line-column-location)
3942 One final hint: if you correct large files with point-and-click, then
3943 start correcting at the end of the file. When you start at the top, and
3944 insert one line, all subsequent locations will be off by a line.
3949 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3950 will complain about not finding @code{src:X:Y} files. Those complaints
3951 are harmless, and can be ignored.
3953 @node Skipping corrected music
3954 @section Skipping corrected music
3956 The property @code{Score.skipTypesetting} can be used to switch on and
3957 off typesetting completely during the interpretation phase. When
3958 typesetting is switched off, the music is processed much more quickly.
3959 You can use this to skip over the parts of a score that you have already
3962 @lilypond[fragment,singleline,verbatim]
3963 \relative c'' { c8 d
3964 \property Score.skipTypesetting = ##t
3966 \property Score.skipTypesetting = ##f
3971 @node Interpretation context
3972 @section Interpretation context
3975 * Creating contexts::
3976 * Default contexts::
3977 * Context properties::
3978 * Engravers and performers::
3979 * Changing context definitions::
3980 * Defining new contexts::
3984 Interpretation contexts are objects that only exist during a run of
3985 LilyPond. During the interpretation phase of LilyPond (when it prints
3986 "interpreting music"), the music expression in a @code{\score} block is
3987 interpreted in time order. This is the same order that humans hear and
3990 During this interpretation, the interpretation context holds the
3991 state for the current point within the music. It contains information
3995 @item What notes are playing at this point?
3996 @item What symbols will be printed at this point?
3997 @item What is the current key signature, time signature, point within
4001 Contexts are grouped hierarchically: A @code{Voice} context is
4002 contained in a @code{Staff} context (because a staff can contain
4003 multiple voices at any point), a @code{Staff} context is contained in
4004 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
4006 Contexts associated with sheet music output are called @emph{notation
4007 contexts}, those for sound output are called @emph{performance
4008 contexts}. The default definitions of the standard notation and
4009 performance contexts can be found in @file{ly/engraver.ly} and
4010 @file{ly/performer.ly}, respectively.
4013 @node Creating contexts
4014 @subsection Creating contexts
4016 @cindex @code{\context}
4017 @cindex context selection
4019 Contexts for a music expression can be selected manually, using the
4020 following music expression.
4023 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4026 This instructs lilypond to interpret @var{musicexpr} within the context
4027 of type @var{contexttype} and with name @var{contextname}. If this
4028 context does not exist, it will be created.
4030 @lilypond[verbatim,singleline]
4032 \notes \relative c'' {
4033 c4 <d4 \context Staff = "another" e4> f
4039 In this example, the @code{c} and @code{d} are printed on the
4040 default staff. For the @code{e}, a context Staff called
4041 @code{another} is specified; since that does not exist, a new
4042 context is created. Within @code{another}, a (default) Voice context
4043 is created for the @code{e4}. When all music referring to a
4044 context is finished, the context is ended as well. So after the
4045 third quarter, @code{another} is removed.
4049 @node Default contexts
4050 @subsection Default contexts
4052 Most music expressions don't need an explicit @code{\context}
4053 declaration: they inherit the
4054 notation context from their parent. Each note is a music expression, and
4055 as you can see in the following example, only the sequential music
4056 enclosing the three notes has an explicit context.
4058 @lilypond[verbatim,singleline]
4059 \score { \notes \context Voice = goUp { c'4 d' e' } }
4062 There are some quirks that you must keep in mind when dealing with
4065 First, every top level music is interpreted by the Score context, in other
4066 words, you may think of @code{\score} working like
4069 \context Score @var{music}
4073 Second, contexts are created automatically to be able to interpret the
4074 music expressions. Consider the following example.
4076 @lilypond[verbatim, singleline]
4077 \score { \context Score \notes { c'4 ( d' )e' } }
4080 The sequential music is interpreted by the Score context initially
4081 (notice that the @code{\context} specification is redundant), but when a
4082 note is encountered, contexts are setup to accept that note. In this
4083 case, a Thread, Voice and Staff are created. The rest of the sequential
4084 music is also interpreted with the same Thread, Voice and Staff context,
4085 putting the notes on the same staff, in the same voice.
4087 This is a convenient mechanism, but do not expect opening chords to work
4088 without @code{\context}. For every note, a separate staff is
4091 @lilypond[verbatim, singleline]
4092 \score { \notes <c'4 es'> }
4095 Of course, if the chord is preceded by a normal note in sequential
4096 music, the chord will be interpreted by the Thread of the preceding
4098 @lilypond[verbatim,singleline]
4099 \score { \notes { c'4 <c'4 es'> } }
4104 @node Context properties
4105 @subsection Context properties
4107 Notation contexts have properties. These properties are from
4108 the @file{.ly} file using the following expression:
4109 @cindex @code{\property}
4111 \property @var{contextname}.@var{propname} = @var{value}
4114 Sets the @var{propname} property of the context @var{contextname} to the
4115 specified Scheme expression @var{value}. All @var{propname} and
4116 @var{contextname} are strings, which are typically unquoted.
4118 Properties that are set in one context are inherited by all of the
4119 contained contexts. This means that a property valid for the
4120 @code{Voice} context can be set in the @code{Score} context (for
4121 example) and thus take effect in all @code{Voice} contexts.
4123 Properties can be unset using the following expression:
4125 \property @var{contextname}.@var{propname} \unset
4128 @cindex properties, unsetting
4129 @cindex @code{\unset}
4131 This removes the definition of @var{propname} in @var{contextname}. If
4132 @var{propname} was not defined in @var{contextname} (but was inherited
4133 from a higher context), then this has no effect.
4138 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4139 the inverse of @code{\property \set}.
4141 @node Engravers and performers
4142 @subsection Engravers and performers
4146 Basic building blocks of translation are called engravers; they are
4147 special C++ classes.
4151 @c . {Context definitions}
4152 @node Changing context definitions
4153 @subsection Changing context definitions
4155 @cindex context definition
4156 @cindex translator definition
4158 The most common way to define a context is by extending an existing
4159 context. You can change an existing context from the paper block, by
4160 first initializing a translator with an existing context identifier:
4164 @var{context-identifier}
4167 Then you can add and remove engravers using the following syntax:
4169 \remove @var{engravername}
4170 \consists @var{engravername}
4174 Here @var{engravername} is a string, the name of an engraver in the
4178 @lilypond[verbatim,singleline]
4182 \translator { \StaffContext
4183 \remove Clef_engraver
4189 You can also set properties in a translator definition. The syntax is as
4192 @var{propname} = @var{value}
4193 @var{propname} \set @var{grob-propname} = @var{pvalue}
4194 @var{propname} \override @var{grob-propname} = @var{pvalue}
4195 @var{propname} \revert @var{grob-propname}
4197 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4198 and @code{pvalue} are Scheme expressions. These type of property
4199 assignments happen before interpretation starts, so a @code{\property}
4200 command will override any predefined settings.
4203 To simplify editing translators, all standard contexts have standard
4204 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4205 @code{VoiceContext}, see @file{ly/engraver.ly}.
4207 @node Defining new contexts
4208 @subsection Defining new contexts
4210 If you want to build a context from scratch, you must also supply the
4211 following extra information:
4213 @item A name, specified by @code{\name @var{contextname}}.
4215 @item A cooperation module. This is specified by @code{\type
4222 \type "Engraver_group_engraver"
4225 \consists "Staff_symbol_engraver"
4226 \consists "Note_head_engraver"
4227 \consistsend "Axis_group_engraver"
4231 The argument of @code{\type} is the name for a special engraver that
4232 handles cooperation between simple engravers such as
4233 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4234 for this engraver are the following:
4236 @cindex @code{Engraver_group_engraver}
4237 @item @code{Engraver_group_engraver}
4238 The standard cooperation engraver.
4240 @cindex @code{Score_engraver}
4242 @item @code{Score_engraver}
4243 This is cooperation module that should be in the top level context,
4244 and only the top level context.
4246 @cindex @code{Grace_engraver_group}
4248 @item @code{Grace_engraver_group}
4249 This is a special cooperation module (resembling
4250 @code{Score_engraver}) that is used to create an embedded
4257 @item @code{\alias} @var{alternate-name}
4258 This specifies a different name. In the above example,
4259 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4261 @item @code{\consistsend} @var{engravername}
4262 Analogous to @code{\consists}, but makes sure that
4263 @var{engravername} is always added to the end of the list of
4266 Some engraver types need to be at the end of the list; this
4267 insures they stay there even if a user adds or removes engravers.
4268 End-users generally don't need this command.
4270 @item @code{\accepts} @var{contextname}
4271 Add @var{contextname} to the list of contexts this context can
4272 contain in the context hierarchy. The first listed context is the
4273 context to create by default.
4275 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4276 completeness, but is never used in practice.
4279 @item @code{\name} @var{contextname}
4280 This sets the type name of the context, e.g. @code{Staff},
4281 @code{Voice}. If the name is not specified, the translator won't do
4285 In the @code{\paper} block, it is also possible to define translator
4286 identifiers. Like other block identifiers, the identifier can only
4287 be used as the very first item of a translator. In order to define
4288 such an identifier outside of @code{\score}, you must do
4293 foo = \translator @{ @dots{} @}
4300 \translator @{ \foo @dots{} @}
4308 @cindex paper types, engravers, and pre-defined translators
4315 @c . {Syntactic details}
4316 @node Syntactic details
4317 @section Syntactic details
4318 @cindex Syntactic details
4320 This section describes details that were too boring to be put elsewhere.
4325 * Music expressions::
4326 * Manipulating music expressions::
4334 @subsection Top level
4337 This section describes what you may enter at top level.
4341 @subsubsection Score
4344 @cindex score definition
4346 The output is generated combining a music expression with an output
4347 definition. A score block has the following syntax:
4350 \score @{ @var{musicexpr} @var{outputdefs} @}
4353 @var{outputdefs} are zero or more output definitions. If none is
4354 supplied, the default @code{\paper} block will be added.
4358 @c . {Default output}
4359 @subsubsection Default output
4361 Default values for the @code{\paper} and @code{\midi} block are set by
4362 entering such a block at the top level.
4365 @subsubsection Header
4367 @cindex @code{\header}
4370 A header describes bibliographic information of the file's contents. It
4371 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4372 use this information for generating titles. Key values that are used by
4373 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4374 meter, arranger, piece and tagline.
4376 @cindex @code{ly2dvi}
4380 \header @{ @var{key1} = @var{val1}
4381 @var{key2} = @var{val2} @dots{} @}
4384 It is customary to put the @code{\header} at the top of the file.
4386 @subsubsection Default output
4388 A @code{\midi} or @code{\paper} block at top level sets the default
4389 paper block for all scores that lack an explicit paper block.
4393 @subsection Identifiers
4397 What has this section got to do with identifiers?
4398 It seems more appropriate in the introduction to Chapter 4,
4404 All of the information in a LilyPond input file, is internally
4405 represented as a Scheme value. In addition to normal Scheme data types
4406 (such as pair, number, boolean, etc.), LilyPond has a number of
4407 specialized data types,
4414 @item Translator_def
4418 @item Music_output_def
4419 @item Moment (rational number)
4422 LilyPond also includes some transient object types. Objects of these
4423 types are built during a LilyPond run, and do not `exist' per se within
4424 your input file. These objects are created as a result of your input
4425 file, so you can include commands in the input to manipulate them,
4426 during a lilypond run.
4429 @item Grob: short for Graphical object. See @ref{Grobs}.
4430 @item Molecule: device-independent page output object,
4431 including dimensions. Produced by some Grob functions
4433 @item Translator: object that produces audio objects or Grobs. This is
4434 not yet user accessible.
4435 @item Font_metric: object representing a font. (See @ref{Font metrics})
4440 @node Music expressions
4441 @subsection Music expressions
4443 @cindex music expressions
4445 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4446 syllables are music expressions, and you can combine music expressions
4447 to form new ones, for example by enclosing a list of expressions in
4448 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4449 compound expression is formed out of the quarter note @code{c} and a
4450 quarter note @code{d}:
4453 \sequential @{ c4 d4 @}
4456 @cindex Sequential music
4457 @cindex @code{\sequential}
4458 @cindex sequential music
4461 @cindex Simultaneous music
4462 @cindex @code{\simultaneous}
4464 The two basic compound music expressions are simultaneous and
4468 \sequential @code{@{} @var{musicexprlist} @code{@}}
4469 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4471 For both, there is a shorthand:
4473 @code{@{} @var{musicexprlist} @code{@}}
4477 @code{<} @var{musicexprlist} @code{>}
4479 for simultaneous music.
4480 In principle, the way in which you nest sequential and simultaneous to
4481 produce music is not relevant. In the following example, three chords
4482 are expressed in two different ways:
4484 @lilypond[fragment,verbatim,center]
4485 \notes \context Voice {
4486 <a c'> <b d' > <c' e'>
4487 < { a b c' } { c' d' e' } >
4492 Other compound music expressions include
4495 \transpose @var{pitch} @var{expr}
4496 \apply @var{func} @var{expr}
4497 \context @var{type} = @var{id} @var{expr}
4498 \times @var{fraction} @var{expr}
4502 @c . {Manipulating music expressions}
4503 @node Manipulating music expressions
4504 @subsection Manipulating music expressions
4506 The @code{\apply} mechanism gives you access to the internal
4507 representation of music. You can write Scheme-functions that operate
4508 directly on it. The syntax is
4510 \apply #@var{func} @var{music}
4512 This means that @var{func} is applied to @var{music}. The function
4513 @var{func} should return a music expression.
4515 This example replaces the text string of a script. It also shows a dump
4516 of the music it processes, which is useful if you want to know more
4517 about how music is stored.
4519 @lilypond[verbatim,singleline]
4520 #(define (testfunc x)
4521 (if (equal? (ly-get-mus-property x 'text) "foo")
4522 (ly-set-mus-property x 'text "bar"))
4524 (ly-set-mus-property x 'elements
4525 (map testfunc (ly-get-mus-property x 'elements)))
4530 \apply #testfunc { c'4_"foo" }
4534 For more information on what is possible, see the automatically
4535 generated documentation.
4538 Directly accessing internal representations is dangerous: the
4539 implementation is subject to changes, so you should avoid this feature
4542 A final example is a function that reverses a piece of music in time:
4544 @lilypond[verbatim,singleline]
4545 #(define (reverse-music music)
4546 (let* ((elements (ly-get-mus-property music 'elements))
4547 (reversed (reverse elements))
4548 (span-dir (ly-get-mus-property music 'span-direction)))
4549 (ly-set-mus-property music 'elements reversed)
4551 (ly-set-mus-property music 'span-direction (- span-dir)))
4552 (map reverse-music reversed)
4555 music = \notes { c'4 d'4( e'4 f'4 }
4557 \score { \context Voice {
4559 \apply #reverse-music \music
4564 More examples are given in the distributed example files in
4567 @c . {Span requests}
4573 @subsubsection Span requests
4574 @cindex Span requests
4576 Notational constructs that start and end on different notes can be
4577 entered using span requests. The syntax is as follows:
4581 \spanrequest @var{startstop} @var{type}
4585 @cindex @code{\start}
4586 @cindex @code{\stop}
4588 This defines a spanning request. The @var{startstop} parameter is either
4589 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4590 describes what should be started. Much of the syntactic sugar is a
4591 shorthand for @code{\spanrequest}, for example,
4593 @lilypond[fragment,verbatim,center]
4594 c'4-\spanrequest \start "slur"
4595 c'4-\spanrequest \stop "slur"
4598 Among the supported types are @code{crescendo}, @code{decrescendo},
4599 @code{beam}, @code{slur}. This is an internal command. Users are
4600 encouraged to use the shorthands which are defined in the initialization
4601 file @file{spanners.ly}.
4606 @subsection Assignments
4609 Identifiers allow objects to be assigned to names during the parse
4610 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4611 and to refer to an identifier, you precede its name with a backslash:
4612 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4613 the input-types listed above. Identifier assignments can appear at top
4614 level in the LilyPond file, but also in @code{\paper} blocks.
4616 An identifier can be created with any string for its name, but you will
4617 only be able to refer to identifiers whose names begin with a letter,
4618 being entirely alphabetical. It is impossible to refer to an identifier
4619 whose name is the same as the name of a keyword.
4621 The right hand side of an identifier assignment is parsed completely
4622 before the assignment is done, so it is allowed to redefine an
4623 identifier in terms of its old value, e.g.
4629 When an identifier is referenced, the information it points to is
4630 copied. For this reason, an identifier reference must always be the
4631 first item in a block.
4635 \paperIdent % wrong and invalid
4639 \paperIdent % correct
4644 @c . {Lexical modes}
4646 @subsection Lexical modes
4647 @cindex Lexical modes
4650 @cindex @code{\notes}
4651 @cindex @code{\chords}
4652 @cindex @code{\lyrics}
4654 To simplify entering notes, lyrics, and chords, LilyPond has three
4655 special input modes in addition to the default mode: note, lyrics and
4656 chords mode. These input modes change the way that normal, unquoted
4657 words are interpreted: for example, the word @code{cis} may be
4658 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4659 major triad respectively.
4661 A mode switch is entered as a compound music expression
4663 @code{\notes} @var{musicexpr}
4664 @code{\chords} @var{musicexpr}
4665 @code{\lyrics} @var{musicexpr}.
4668 In each of these cases, these expressions do not add anything to the
4669 meaning of their arguments. They just instruct the parser in what mode
4670 to parse their arguments. The modes are treated in more detail in
4671 @ref{Lyrics} and @ref{Chords}.
4673 Different input modes may be nested.
4677 @subsection Ambiguities
4682 The grammar contains a number of ambiguities. We hope to resolve them at
4686 @item The assignment
4691 is interpreted as the string identifier assignment. However,
4692 it can also be interpreted as making a string identifier @code{\foo}
4693 containing @code{"bar"}, or a music identifier @code{\foo}
4694 containing the syllable `bar'.
4696 @item If you do a nested repeat like
4708 then it is ambiguous to which @code{\repeat} the
4709 @code{\alternative} belongs. This is the classic if-then-else
4710 dilemma. It may be solved by using braces.
4712 @item The parser is not sophisticated enough to distinguish at the
4714 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4721 @c . {Lexical details}
4722 @node Lexical details
4723 @section Lexical details
4725 Even more boring details, now on lexical side of the input parser.
4736 * Version information::
4741 @subsection Comments
4744 @cindex block comment
4745 @cindex line comment
4749 A one line comment is introduced by a @code{%} character.
4750 Block comments are started by @code{%@{} and ended by @code{%@}}.
4751 They cannot be nested.
4754 @subsection Direct Scheme
4758 @cindex Scheme, in-line code
4761 LilyPond contains a Scheme interpreter (the GUILE library) for
4762 internal use. In some places, Scheme expressions also form valid syntax:
4763 wherever it is allowed,
4767 evaluates the specified Scheme code. Example:
4769 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4771 @code{\override} expects two Scheme expressions, so there are two Scheme
4772 expressions. The first one is a symbol (@code{foobar}), the second one
4773 an integer (namely, 3).
4775 In-line scheme may be used at the top level. In this case the result is
4778 Scheme is a full-blown programming language, and a full discussion is
4779 outside the scope of this document. Interested readers are referred to
4780 the website @uref{http://www.schemers.org/} for more information on
4785 @subsection Keywords
4789 Keywords start with a backslash, followed by a number of lower case
4790 alphabetic characters. These are all the keywords.
4793 apply arpeggio autochange spanrequest commandspanrequest
4794 simultaneous sequential accepts alternative bar breathe
4795 char chordmodifiers chords clef cm consists consistsend
4796 context denies duration dynamicscript elementdescriptions
4797 font grace header in lyrics key mark pitch
4798 time times midi mm name pitchnames notes outputproperty
4799 override set revert partial paper penalty property pt
4800 relative remove repeat addlyrics partcombine score
4801 script stylesheet skip textscript tempo translator
4806 @subsection Integers
4814 Formed from an optional minus sign followed by digits. Arithmetic
4815 operations cannot be done with integers, and integers cannot be mixed
4820 @cindex real numbers
4826 Formed from an optional minus sign and a sequence of digits followed
4827 by a @emph{required} decimal point and an optional exponent such as
4828 @code{-1.2e3}. Reals can be built up using the usual operations:
4829 `@code{+}', `@code{-}', `@code{*}', and
4830 `@code{/}', with parentheses for grouping.
4838 A real constant can be followed by one of the dimension keywords:
4839 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4840 points, inches and centimeters, respectively. This converts the number
4841 a number that is the internal representation of that dimension.
4849 Begins and ends with the @code{"} character. To include a @code{"}
4850 character in a string write @code{\"}. Various other backslash
4851 sequences have special interpretations as in the C language. A string
4852 that contains no spaces can be written without the quotes. Strings can
4853 be concatenated with the @code{+} operator.
4857 @subsection Main input
4860 @cindex @code{\maininput}
4862 The @code{\maininput} command is used in init files to signal that the
4863 user file must be read. This command cannot be used in a user file.
4865 @node File inclusion
4866 @subsection File inclusion
4867 @cindex @code{\include}
4869 \include @var{filename}
4872 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4873 unquoted string will not work here!) or a string identifier. The full
4874 filename including the @file{.ly} extension must be given,
4877 @node Version information
4878 @subsection Version information
4879 @cindex @code{\version}
4881 \version @var{string}
4884 Specify the version of LilyPond that a file was written for. The
4885 argument is a version string in quotes, for example @code{"1.2.0"}.
4886 This is used to detect invalid input, and to aid
4887 @code{convert-ly} a tool that automatically upgrades input files. See
4888 See @ref{convert-ly} for more information on @code{convert-ly}.
4897 @c .{Local emacs vars}
4900 @c minor-mode: font-lock
4901 @c minor-mode: outline
4902 @c outline-layout: (-1 : 0)
4903 @c outline-use-mode-specific-leader: "@c \."
4904 @c outline-primary-bullet: "{"
4905 @c outline-stylish-prefixes: nil
4906 @c outline-override-protect: t