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
8 @c FIXME: singular vs. plural: Beams/Beam
17 @c .{Reference Manual}
19 @node Reference Manual
20 @chapter Reference Manual
23 <!--- @@WEB-TITLE@@=Reference Manual --->
26 This document describes GNU LilyPond and its input format. The last
27 revision of this document was made for LilyPond 1.4.1. It supposes a
28 passing familiarity with how LilyPond input works. New users are
29 encouraged to study the tutorial first.
31 The reference manual is ordered according to different tasks.
32 More details on the property setting mechanisms and context handling is
33 provided in @ref{Tuning output} and @ref{Interpretation context}. The
34 syntactical details are described at the end of the manual.
56 * Skipping corrected music::
57 * Interpretation context::
67 The purpose of LilyPond is explained informally by the term `music
68 typesetter'. This is not a fully correct name: not only does the
69 program print musical symbols, it also makes aesthetic decisions.
70 Symbols and their placements are @emph{generated} from a high-level
71 musical description. In other words, LilyPond would be best described
72 by `music compiler' or `music to notation compiler'.
74 LilyPond is linked to GUILE, GNU's Scheme library for extension
75 programming. The Scheme library provides the glue that holds together
76 the low-level routines and separate modules which are written in C++.
78 When lilypond is run to typeset sheet music, the following happens:
80 @item GUILE Initialization: various scheme files are read
81 @item parsing: first standard @code{ly} initialization files are read, and
82 then the user @file{ly} file is read.
83 @item interpretation: the music in the file is processed ``in playing
84 order'', i.e. the order that you use to read sheet music, or the
85 order in which notes are played. The result of this step is a typesetting
89 The typesetting specification is solved: positions and formatting is
92 @item the visible results ("virtual ink") are written to the output file.
95 During these stages different types of data play the the main role:
96 during parsing, @strong{Music} objects are created. During the
97 interpretation, @strong{contexts} are constructed, and with these contexts
98 a network of @strong{graphical objects} (``grobs'') is created. These
99 grobs contain unknown variables, and the network forms a set of
100 equations. After solving the equations and filling in these variables,
101 the printed output (in the form of @strong{molecules}) is written to an
104 These threemanship of tasks (parsing, translating, typesetting) and
105 data-structures (music, context, graphical objects) permeates the entire
106 design of the program.
108 @c FIXME: Note entry vs Music entry at top level menu is confusing.
114 The most basic forms of music are notes. We discuss how you enter them
115 here. Notes on their own don't form valid input, but for the sake of
116 brevity we omit obligatory lint such as @code{\score} blocks and
117 @code{\paper} declarations.
128 * Defining pitch names::
129 * Easy Notation note heads ::
136 A note specification has the form
139 @var{pitch}[!][?][@var{duration}]
142 The alteration refers to what note is heard, not to whether an
143 accidental is printed. This is done depending on the key and context.
144 A reminder accidental
145 @cindex reminder accidental
147 can be forced by adding an exclamation mark @code{!} after the pitch. A
148 cautionary accidental,
149 @cindex cautionary accidental
150 @cindex parenthesized accidental
151 i.e., an accidental within parentheses can be obtained by adding the
152 question mark `@code{?}' after the pitch.
154 @lilypond[fragment,verbatim,center]
155 cis' d' e' cis' c'? d' e' c'!
164 @cindex Note specification
166 @cindex entering notes
168 The verbose syntax for pitch specification is
170 @cindex @code{\pitch}
172 \pitch @var{scmpitch}
175 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
177 In Note and Chord mode, pitches may be designated by names. The default
178 names are the Dutch note names. The notes are specified by the letters
179 @code{a} through @code{g} (where the octave is formed by notes ranging
180 from @code{c} to @code{b}). The pitch @code{c} is an octave below
181 middle C and the letters span the octave above that C.
183 @cindex note names, Dutch
185 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
186 name and a flat is formed by adding @code{-es}. Double sharps and double
187 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
188 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
189 both forms are accepted.
191 LilyPond has predefined sets of note names for various other languages.
192 To use them, simply include the language specific init file. For
193 example: @code{\include "english.ly"}. The available language files and
194 the names they define are:
197 Note Names sharp flat
198 nederlands.ly c d e f g a bes b -is -es
199 english.ly c d e f g a bf b -s/-sharp -f/-flat
200 deutsch.ly c d e f g a b h -is -es
201 norsk.ly c d e f g a b h -iss/-is -ess/-es
202 svenska.ly c d e f g a b h -iss -ess
203 italiano.ly do re mi fa sol la sib si -d -b
204 catalan.ly do re mi fa sol la sib si -d/-s -b
212 The optional octave specification takes the form of a series of
213 single quote (`@code{'}') characters or a series of comma
214 (`@code{,}') characters. Each @code{'} raises the pitch by one
215 octave; each @code{,} lowers the pitch by an octave.
217 @lilypond[fragment,verbatim,center]
218 c' c'' es' g' as' gisis' ais'
226 A rest is entered like a note, with note name `@code{r}':
228 @lilypond[singleline,verbatim]
232 The grob is @code{Rest}. Whole bar rests centered in the bar are
233 specified using @code{R}, see @ref{Multi measure rests}.
241 @cindex Invisible rest
244 An invisible rest, or skip, can be entered like a note with note name
247 @lilypond[singleline,verbatim]
251 Actually, this is a shorthand for the @code{\skip} command, and it is
252 only available in Note mode and Chord mode.
254 @c FIXME: in lyrics mode, we have " " and _
256 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
257 @lilypond[singleline,verbatim]
259 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
260 \notes\relative c'' { a2 a4 a a2 a4 a }
264 The unabbreviated `@code{\skip} @var{duration}' also works outside of
267 @lilypond[singleline,verbatim]
270 { \time 4/8 \skip 2 \time 4/4 }
271 \notes\relative c'' { a2 a1 }
280 @subsection Durations
284 @cindex @code{\duration}
286 The syntax for a verbose duration specification is
288 \duration @var{scmduration}
290 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
291 @ref{Duration} for more information.
294 In Note, Chord, and Lyrics mode, durations may be designated by numbers
295 and dots: durations are entered as their reciprocal values. For notes
296 longer than a whole you must use identifiers.
300 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
302 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 \remove "Staff_symbol_engraver"
319 \remove "Time_signature_engraver"
320 \consists "Pitch_squash_engraver"
326 To get a longa note head, you have to use mensural note heads. This
327 is accomplished by setting the @code{style} property of the
328 NoteHead grob to @code{mensural}. There is also a note head style
329 @code{baroque} which gives mensural note heads for @code{\longa} and
330 @code{\breve} but standard note heads for shorter notes.
332 @lilypond[fragment,singleline,verbatim]
333 \property Voice.NoteHead \set #'style = #'mensural
337 If the duration is omitted then it is set to the previous duration
338 entered. At the start of parsing a quarter note is assumed. The
339 duration can be followed by dots (`@code{.}') to obtain dotted note
343 @lilypond[fragment,verbatim,center]
349 You can alter the length of duration by a fraction @var{N/M} by
350 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
351 will not affect the appearance of the notes or rests produced.
363 A tie connects two adjacent note heads of the same pitch. When used
364 with chords, it connects all the note heads whose pitches match.
365 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
366 together chords which have no common pitches then no ties will be
369 @lilypond[fragment,verbatim,center]
370 e' ~ e' <c' e' g'> ~ <c' e' g'>
373 If you dislike the amount of ties created for a chord, you set
374 @code{Voice.sparseTies} to true, resulting in a smaller number of
376 @lilypond[fragment,verbatim,center]
377 \property Voice.sparseTies = ##t
378 <c' e' g'> ~ <c' e' g'>
381 In its meaning a tie is just a way of extending a note duration, similar
382 to the augmentation dot: the following example are two ways of notating
383 exactly the same concept.
385 @lilypond[fragment, singleline]
386 \time 3/4 c'2. c'2 ~ c'4
389 The name of the tie grob is @code{Voice.Tie}.
393 At present, the tie is implemented as a separate thing, temporally
394 located in between the notes. There is also no way to convert
395 between tied notes, dotted notes and plain notes.
397 Tieing only a subset of the note heads of a chord is not supported in a
398 simple way. It can be achieved by moving the tie-engraver into the Thread
399 context and turning on and off ties per Thread.
407 @cindex @code{\times}
409 Tuplets are made out of a music expression by multiplying all duration
412 @cindex @code{\times}
414 \times @var{fraction} @var{musicexpr}
417 The duration of @var{musicexpr} will be multiplied by the fraction.
418 In print, the fraction's denominator will be printed over the notes,
419 optionally with a bracket. The most common tuplet is the triplet in
420 which 3 notes have the length of 2, so the notes are 2/3 of
421 their written length:
423 @lilypond[fragment,verbatim,center]
424 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
427 The property @code{tupletSpannerDuration} specifies how long each bracket
428 should last. With this, you can make lots of tuplets while typing
429 @code{\times} only once, thus saving typing work.
431 @lilypond[fragment, relative, singleline, verbatim]
432 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
433 \times 2/3 { c'8 c c c c c }
436 The format of the number is determined by the property
437 @code{tupletNumberFormatFunction}. The default prints only the
438 denominator, but if you set it to the Scheme function
439 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
442 The typesetting of brackets and numbers is controlled by the properties
443 @code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
445 @lilypond[fragment, relative, singleline, verbatim]
446 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
447 \times 2/3{c'8 d e} \times 2/3{d4 e8}
448 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
449 \times 2/3{c d e} \times 2/3{d4 e8}
450 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
451 \times 2/3{c d e} \times 2/3{d4 e8}
452 \property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
453 \times 2/3{c d e} \times 2/3{d4 e8}
454 \property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
455 \times 2/3{c d e} \times 2/3{d4 e8}
458 @cindex @code{tupletNumberFormatFunction}
459 @cindex tuplet formatting
461 Tuplet brackets are printed as @code{TupletBracket} grobs
463 @c . {Defining pitch names}
464 @node Defining pitch names
465 @subsection Defining pitch names
467 @cindex defining pitch names
468 @cindex pitch names, defining
470 Note names and chord modifiers can be customized for nationalities. The
471 syntax is as follows.
473 @cindex @code{\pitchnames}
474 @cindex @code{\chordmodifiers}
476 \pitchnames @var{scheme-alist}
477 \chordmodifiers @var{scheme-alist}
480 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
481 specific examples on how to do this.
484 @node Easy Notation note heads
485 @subsection Easy Notation note heads
487 @cindex easy notation
490 A entirely different type of note head is the "easyplay" note head: a
491 note head that includes a note name. It is used in some publications by
492 Hal-Leonard Inc. music publishers.
494 @lilypond[singleline,verbatim]
495 \include "paper23.ly"
497 \notes { c'2 e'4 f' | g'1 }
498 \paper { \translator { \EasyNotation } }
502 Note that @code{EasyNotation} overrides a @code{Score} context. You
503 probably will want to print it with magnification to make it more
504 readable, see @ref{Output scaling}.
510 If you view the result with Xdvi, then staff lines will show through the
511 letters. Printing the postscript file obtained either by using dvips or
512 the @code{-f ps} option of lilypond produces the correct result.
517 @section Staff notation
519 @cindex Staff notation
531 @subsection Key signature
536 Setting or changing the key signature is done with the @code{\key}
539 @code{\key} @var{pitch} @var{type}
542 @cindex @code{\minor}
543 @cindex @code{\major}
544 @cindex @code{\minor}
545 @cindex @code{\ionian}
546 @cindex @code{\locrian}
547 @cindex @code{\aeolian}
548 @cindex @code{\mixolydian}
549 @cindex @code{\lydian}
550 @cindex @code{\phrygian}
551 @cindex @code{\dorian}
553 Here, @var{type} should be @code{\major} or @code{\minor} to get
554 @var{pitch}-major or @var{pitch}-minor, respectively.
555 The standard mode names @code{\ionian},
556 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
557 @code{\phrygian}, and @code{\dorian} are also defined.
559 This command sets the context property @code{Staff.keySignature}.
560 Non-standard key signatures can be specified by setting this property
561 directly, see the generated documentation for @rgrob{KeySignature}.
563 The printed signature is a @code{KeySignature} grob.
565 @cindex @code{keySignature}
572 The clef can be set or changed with the @code{\clef} command.
580 \property Staff.clefGlyph = @var{glyph associated with clefname}
581 \property Staff.clefPosition = @var{clef Y-position for clefname}
582 \property Staff.centralCPosition = @var{position for central C}
583 \property Staff.clefOctavation = @var{extra transposition of clefname}
586 Any change in these properties creates a clef (a @code{Clef} grob).
588 Supported clef-names include
590 @c Moved standard clefs to the top /MB
592 @item treble, violin, G, G2
601 G clef on 1st line, so-called French violin clef
616 By adding @code{_8} or @code{^8} to the clef name, the clef is
617 transposed one octave down or up, respectively.
619 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
628 @item clefs-vaticana_do
629 Editio Vaticana style do clef
630 @item clefs-vaticana_fa
631 Editio Vaticana style fa clef
632 @item clefs-medicaea_do
633 Editio Medicaea style do clef
634 @item clefs-medicaea_fa
635 Editio Medicaea style fa clef
636 @item clefs-mensural1_c
637 modern style mensural C clef
638 @item clefs-mensural2_c
639 historic style small mensural C clef
640 @item clefs-mensural3_c
641 historic style big mensural C clef
642 @item clefs-mensural1_f
643 historic style traditional mensural F clef
644 @item clefs-mensural2_f
645 historic style new mensural F clef
646 @item clefs-mensural_g
647 historic style mensural G clef
648 @item clefs-hufnagel_do
649 historic style hufnagel do clef
650 @item clefs-hufnagel_fa
651 historic style hufnagel fa clef
652 @item clefs-hufnagel_do_fa
653 historic style hufnagel combined do/fa clef
654 @item clefs-percussion
655 modern style percussion clef
658 @emph{Modern style} means ``as is typeset in current editions.''
659 @emph{Historic style} means ``as was typeset or written in contemporary
660 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
663 @cindex Vaticana, Editio
664 @cindex Medicaea, Editio
665 @cindex hufnagel clefs
668 @c . {Time signature}
670 @subsection Time signature
671 @cindex Time signature
675 The time signature is set or changed by the @code{\time}
678 \time @var{n}@code{/}@var{d}
680 Internally, this is a shortcut for doing
682 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
683 \property Score.beatLength = #(make-moment 1 @var{d})
684 \property Score.measureLength = #(make-moment @var{n} @var{d})
687 These properties @code{timeSignatureFraction} determine where bar lines
688 should be inserted, and how automatic beams should be
691 Changing the value of @code{timeSignatureFraction} also causes a
692 fraction to be printed. This grob is @code{TimeSignature}.
694 The actual symbol that's printed can be customized with the style
696 @lilypond[fragment, verbatim, singleline]
698 \property Staff.TimeSignature \override #'style = #'C
700 \property Staff.TimeSignature \override #'style = #'()
702 \property Staff.TimeSignature \override #'style = #'C
706 There are many more options for the layout of this grob. They are
707 selected through the @code{style} grob property.
709 @c FIXME: this isn't documented except in example?
711 @file{input/test/time.ly} for examples.
718 @cindex partial measure
719 @cindex measure, partial
720 @cindex shorten measures
721 @cindex @code{\partial}
723 Partial measures, for example in upbeats, are entered using the
724 @code{\partial} command:
726 \partial @var{duration}
729 Internally, this is a shortcut for
732 \property Score.measurePosition = -@var{length of duration}
736 The property @code{measurePosition} contains a rational number
737 indicating how much of the measure has passed at this point.
740 @node Unmetered music
741 @subsection Unmetered music
743 Bar lines and bar numbers are calculated automatically. For unmetered
744 music (e.g. cadenzas), this is not desirable. The property
745 @code{Score.timing} can be used to switch off this automatic timing
747 @lilypond[fragment,relative,singleline,verbatim]
749 \property Score.timing = ##f
751 \property Score.timing = ##t
755 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
762 @subsection Bar lines
766 @cindex measure lines
773 This is a shortcut for doing
775 \property Score.whichBar = @var{bartype}
777 The following bar types are available
779 @lilypond[fragment, relative, singleline, verbatim]
792 You are encouraged to use @code{\repeat} for repetitions. See
796 @cindex Bar_line_engraver
798 @cindex repeatCommands
799 @cindex defaultBarType
801 Whenever @code{whichBar} is set to a string, a bar line of that type is
802 created. @code{whichBar} is usually set automatically: at the start of
803 a measure it is set to @code{defaultBarType}. The contents of
804 @code{repeatCommands} is used to override default measure bars.
806 @code{whichBar} can also be set directly, using @code{\property} or
807 @code{\bar }. These settings take precedence over the automatic
808 @code{whichBar} settings.
810 @code{BarLine} grobs are created by the @code{Bar_engraver}.
817 Polyphonic parts, i.e. parts with more than one voice on a staff can be
818 typeset with LilyPond. To use this, instantiate a separate Voice
819 context for each part, and assign a stem direction to each part.
820 @lilypond[fragment,verbatim]
822 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
823 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
826 When there are more than two voices on a staff, you must also indicate
827 which voice should moved horizontally in case of a collision. This can
828 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
829 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
830 in @code{NoteColumn}).
832 @lilypond[fragment, verbatim]
833 \context Staff \notes\relative c''<
840 \context Voice=three {
841 \shiftOnn \stemUp ais
843 \context Voice=four {
844 \shiftOnnn \stemUp fis
849 The most convenient way is to use the identifiers @code{\voiceOne}
850 through @code{\voiceFour}, which also set slur and tie directions in the
853 @lilypond[singleline, verbatim]
855 \context Staff < \context Voice = VA { \voiceOne cis2 b }
856 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
857 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
860 Normally, note heads with a different number of dots are not merged, but
861 if you set the grob property @code{merge-differently-dotted}, they are:
863 @lilypond[verbatim,fragment,singleline]
865 \context Voice = VA { \voiceOne
867 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
870 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
874 LilyPond also vertically shifts rests that are opposite of a stem.
876 @lilypond[singleline,verbatim]
878 \context Voice { \stemUp c''4 }
879 \context Voice =VB { r4 }
883 Note head collisions (horizontal shifting of note heads) are handled by
884 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
887 @cindex @code{NoteCollision}
888 @cindex @code{RestCollision}
893 Resolving collisions is a very intricate subject, and LilyPond only
894 handles a few situations. When it can not cope, you are advised to use
895 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
896 the Rest grob to override typesetting decisions.
901 Beams are used to group short notes into chunks that are aligned with
902 the metrum. LilyPond guesses where beams should be inserted. If you're
903 not satisfied with the automatic beaming, you can specify which patterns
904 to beam automatically. In specific cases, you can also enter the beams
908 @c . {Automatic beams}
909 @subsection Automatic beams
911 @cindex @code{Voice.autoBeamSettings}
912 @cindex @code{(end * * * *)}
913 @cindex @code{(begin * * * *)}
916 In normal time signatures, automatic beams can start on any note but can
917 only end in a few positions within the measure: beams can end on a beat,
918 or at durations specified by the properties in
919 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
920 are defined in @file{scm/auto-beam.scm}.
922 The value of @code{autoBeamSettings} is changed using
923 @code{\override} and unset using @code{\revert}:
925 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
926 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
928 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
929 whether the rule applies to begin or end-points. The quantity
930 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
931 *}' designates notes of any length), @var{N}/@var{M} refers to a time
932 signature (wildcards, `@code{* *}' may be entered to designate all time
935 For example, if you want automatic beams to end on every quarter note,
936 you can use the following:
938 \property Voice.autoBeamSettings \override
939 #'(end * * * *) = #(make-moment 1 4)
941 Since the duration of a quarter note is 1/4 of a whole note, it is
942 entered as @code{(make-moment 1 4)}.
944 The same syntax can be used to specify beam starting points. In this
945 example, automatic beams can only end on a dotted quarter note.
947 \property Voice.autoBeamSettings \override
948 #'(end * * * *) = #(make-moment 3 8)
950 In 4/4 time signature, this means that automatic beams could end only on
951 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
952 3/8 has passed within the measure).
954 You can also restrict rules to specific time signatures. A rule that
955 should only be applied in @var{N}/@var{M} time signature is formed by
956 replacing the second asterisks by @var{N} and @var{M}. For example, a
957 rule for 6/8 time exclusively looks like
959 \property Voice.autoBeamSettings \override
960 #'(begin * * 6 8) = ...
963 If you want a rule to apply to certain types of beams, you can use the
964 first pair of asterisks. Beams are classified according to the shortest
965 note they contain. For a beam ending rule that only applies to beams
966 with 32nd notes (and no shorter notes), you would use @code{(end 1
970 @c Automatic beams can not be put on the last note in a score.
972 If a score ends while an automatic beam has not been ended and is still
973 accepting notes, this last beam will not be typeset at all.
975 @cindex automatic beam generation
977 @cindex @code{Voice.noAutoBeaming}
979 Automatic beaming is on by default, but can be switched off by setting
980 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
981 a melody that goes with lyrics.
985 It is not possible to specify beaming parameters for beams with mixed
986 durations, that differ from the beaming parameters of all separate
987 durations, i.e., you'll have to specify manual beams to get:
988 @lilypond[fragment,singleline,relative]
989 \property Voice.autoBeamSettings
990 \override #'(end * * * *) = #(make-moment 3 8)
991 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
994 It is not possible to specify beaming parameters that act differently in
995 different parts of a measure. This means that it is not possible to use
996 automatic beaming in irregular meters such as @code{5/8}.
999 @cindex Automatic beams
1000 @subsection Manual beams
1001 @cindex beams, manual
1005 In some cases it may be necessary to override LilyPond's automatic
1006 beaming algorithm. For example, the auto beamer will not beam over
1007 rests or bar lines, If you want that, specify the begin and end point
1008 manually using a @code{[} before the first beamed note and a @code{]}
1009 after the last note:
1011 @lilypond[fragment,relative,verbatim]
1013 r4 [r8 g' a r8] r8 [g | a] r8
1016 Whenever an manual beam is busy, the automatic beamer will not produce
1019 @cindex @code{stemLeftBeamCount}
1021 Normally, beaming patterns within a beam are determined automatically.
1022 When this mechanism fouls up, the properties
1023 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
1024 be used to control the beam subdivision on a stem. If you set either
1025 property, it's value will be used only once, and then it is erased.
1027 @lilypond[fragment,relative,verbatim]
1030 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1033 @cindex @code{stemRightBeamCount}
1035 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
1036 beams) can be tweaked through grob-properties @code{height} and
1037 @code{staff-position}. These specify vertical location and vertical
1038 span. Both are measured in half staff-spaces, @code{staff-position=0}
1039 corresponds to the middle staff line.
1041 Set @code{height} to zero, to get horizontal beams:
1043 @lilypond[fragment,relative,verbatim]
1044 \property Voice.Beam \set #'direction = #1
1045 \property Voice.Beam \set #'height = #0
1049 Here's how you'd specify a weird looking beam that instead of being
1050 horizontal, falls two staff spaces:
1052 @lilypond[fragment,relative,verbatim]
1053 \property Voice.Beam \set #'staff-position = #4
1054 \property Voice.Beam \set #'height = #-4
1058 @c TODO -> why this ref? Document?
1059 @cindex @code{neutral-direction}
1061 @node Expressive marks
1062 @section Expressive marks
1077 A slur indicates that notes are to be played bound or @emph{legato}.
1078 They are entered using parentheses:
1080 @lilypond[fragment,verbatim,center]
1081 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1085 Slurs avoid crossing stems, and are generally attached to note heads.
1086 However, in some situations with beams, slurs may be attached to stem
1087 ends. If you want to override this layout you can do this through the
1088 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
1089 pair of symbols, specifying the attachment type of the left and right end points.
1091 @lilypond[fragment,relative,verbatim]
1092 \property Voice.Slur \set #'direction = #1
1093 \property Voice.Stem \set #'length = #5.5
1095 \property Voice.Slur \set #'attachment = #'(stem . stem)
1099 If a slur would strike through a stem or beam, the slur will be moved
1100 away upward or downward. If this happens, attaching the slur to the
1101 stems might look better:
1103 @lilypond[fragment,relative,verbatim]
1104 \property Voice.Stem \set #'direction = #1
1105 \property Voice.Slur \set #'direction = #1
1107 \property Voice.Slur \set #'attachment = #'(stem . stem)
1112 Similarly, the curvature of a slur is adjusted to stay clear of note
1113 heads and stems. When that would increase the curvature too much, the
1114 slur is reverted to its default shape. The threshold for this decision
1115 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1116 related to the enclosed area between the slur and the notes. Usually,
1117 the default setting works well, but in some cases you may prefer a
1118 curved slur when LilyPond decides for a vertically moved one. You can
1119 indicate this preference by increasing the @code{beautiful} value:
1121 @lilypond[verbatim,singleline,relative]
1122 \property Voice.Beam \override #'direction = #-1
1123 \property Voice.Slur \override #'direction = #1
1124 c16( a' f' a a f a, )c,
1125 c( a' f' a a f d, )c
1126 \property Voice.Slur \override #'beautiful = #5.0
1127 c( a' f' a a f d, )c
1132 @code{beautiful} is an arbitrary parameter in the slur formatter.
1133 Useful values can only be determined by trial and error.
1135 @cindex Adjusting slurs
1137 @node Phrasing slurs
1138 @subsection Phrasing slurs
1140 @cindex phrasing slurs
1141 @cindex phrasing marks
1143 A phrasing slur (or phrasing mark) connects chords and is used to
1144 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1147 @lilypond[fragment,verbatim,center,relative]
1148 \time 6/4 c' \( ( d ) e f ( e ) \) d
1151 Typographically, the phrasing slur behaves almost exactly like a normal
1152 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1155 @subsection Breath marks
1157 Breath marks are entered using @code{\breathe}. The result is a
1158 @code{Voice.BreathingSign} grob.
1160 @lilypond[fragment,relative]
1169 Currently, only tick marks are supported, not comma style breath marks.
1176 @cindex beats per minute
1177 @cindex metronome marking
1179 Metronome settings can be entered as follows:
1181 @cindex @code{\tempo}
1183 \tempo @var{duration} = @var{perminute}
1186 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1191 The tempo setting is not printed, but is only used in the MIDI
1192 output. You can trick lily into producing a metronome mark,
1193 though. Details are in @ref{Text markup}.
1198 @subsection Text spanners
1199 @cindex Text spanners
1201 Some textual indications, e.g. rallentando or accelerando, often extend
1202 over many measures. This is indicated by following the text with a
1203 dotted line. You can create such texts using text spanners. The syntax
1206 \spanrequest \start "text"
1207 \spanrequest \stop "text"
1209 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1210 string to be printed, as well as the style is set through grob
1213 An application---or rather, a hack---is to fake octavation indications.
1214 @lilypond[fragment,relative,verbatim]
1215 \relative c' { a''' b c a
1216 \property Voice.TextSpanner \set #'type = #'dotted-line
1217 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1218 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1219 \property Staff.centralCPosition = #-13
1220 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1238 @subsection Articulations
1239 @cindex Articulations
1241 @cindex articulations
1245 A variety of symbols can appear above and below notes to indicate
1246 different characteristics of the performance. These symbols can be
1247 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1248 are defined in @file{script.ly}. Symbols can be forced to appear above
1249 or below the note by writing `@var{note}@code{^\}@var{name}' and
1250 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1251 symbols on notes, with the name of the corresponding symbol appearing
1257 \property Score.LyricSyllable \override #'font-family =#'typewriter
1258 \property Score.LyricSyllable \override #'font-shape = #'upright
1259 \context Staff \notes {
1260 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1261 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1262 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1263 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1264 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1265 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1266 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1267 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1269 \context Lyrics \lyrics {
1270 accent__ marcato__ staccatissimo__ fermata
1271 stopped__ staccato__ tenuto__ upbow
1272 downbow__ lheel__ rheel__ ltoe
1273 rtoe__ turn__ open__ flageolet
1274 reverseturn__ trill__ prall__ mordent
1275 prallprall__ prallmordent__ uprall__ downprall
1276 upmordent__ downmordent__ pralldown__ prallup__
1277 lineprall__ thumb__ segno__ coda
1281 linewidth = 5.875\in
1287 To save typing work, some shorthands are available:
1288 @lilypond[singleline]
1290 \notes \context Voice {
1291 \property Voice.TextScript \set #'font-family = #'typewriter
1292 \property Voice.TextScript \set #'font-shape = #'upright
1298 c''4-^_"c-\\^{ }" s4
1305 Fingering instructions can also be entered in this shorthand.
1306 @lilypond[verbatim, singleline, fragment]
1307 c'4-1 c'4-2 c'4-3 c'4-4
1311 @cindex @code{\script}
1316 You can add scripts by editing @file{scm/script.scm}. This file contains
1317 a table, listing script definitions and aliases. The following syntax
1318 accesses a script definition from the table:
1324 Usually the @code{\script} keyword is not used directly. Various
1325 helpful identifier definitions appear in @file{script.ly}.
1327 Grobs for these objects are @code{Script} and @code{Fingering}.
1331 All of these note ornaments appear in the printed output but have no
1332 effect on the MIDI rendering of the music.
1334 Unfortunately, there is no support for adding fingering instructions or
1335 ornaments to individual note heads. Some hacks exist, though. See
1336 @file{input/test/script-horizontal.ly}.
1341 @subsection Text scripts
1342 @cindex Text scripts
1344 In addition, it is possible to place arbitrary strings of text or markup
1345 text (see @ref{Text markup}) above or below notes by using a string:
1348 By default, these indications do not influence the note spacing, but
1349 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1350 into account. The identifier @code{\fatText} is defined in the standard
1352 @lilypond[fragment,singleline,verbatim]
1353 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1356 Text scripts are created in form of @code{Voice.TextScript} grobs.
1358 @ref{Text markup} describes how to change the font or access
1359 special symbols in text scripts.
1363 @subsection Grace notes
1372 @cindex @code{\grace}
1375 @cindex @code{graceAlignPosition}
1377 Grace notes are ornaments that are written out, but do not take up any
1378 logical time in a measure. LilyPond has limited support for grace notes.
1379 The syntax is as follows.
1381 \grace @var{musicexpr}
1384 Unbeamed eighth notes and shorter by default have a slash through the
1387 @lilypond[fragment,verbatim]
1389 \grace c8 c4 \grace { [c16 c16] } c4
1391 \property Voice.Stem \override #'flag-style = #'()
1393 \property Voice.Stem \revert #'flag-style
1398 A grace note expression has duration 0; the next real note is assumed to
1399 be the main note. If you want the note to appear after the main note,
1400 set @code{Voice.graceAlignPosition} to @code{1}.
1404 Nesting @code{\grace} notes is not supported. The following may cause
1405 run-time errors: @example
1406 @code{\grace @{ \grace c32 c16 @} c4}
1408 Since the meaning of such a construct is unclear, we don't consider this
1409 a loss. Similarly, juxtaposing two @code{\grace} sections is
1410 syntactically valid, but makes no sense and may cause runtime errors.
1411 Ending a staff or score with grace notes may also generate a run-time
1412 error, since there will be no main note to attach the grace notes to.
1423 @subsection Glissando
1426 @cindex @code{\glissando}
1428 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1429 @code{\glissando} to a note:
1431 @lilypond[fragment,relative,verbatim]
1437 Printing of an additional text (such as @emph{gliss.}) must be done
1444 @subsection Dynamics
1457 @cindex @code{\ffff}
1467 Absolute dynamic marks are specified using an identifier after a
1468 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1469 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1470 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1471 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1473 @lilypond[verbatim,singleline,fragment,relative]
1474 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1480 @cindex @code{\decr}
1481 @cindex @code{\rced}
1487 A crescendo mark is started with @code{\cr} and terminated with
1488 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1489 started with @code{\decr} and terminated with @code{\rced}. There are
1490 also shorthands for these marks. A crescendo can be started with
1491 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1492 can be terminated with @code{\!}. Note that @code{\!} must go before
1493 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1494 after the last note. Because these marks are bound to notes, if you
1495 want several marks during one note, you have to use spacer notes.
1497 @lilypond[fragment,verbatim,center]
1498 c'' \< \! c'' d'' \decr e'' \rced
1499 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1502 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1503 is an example how to do it:
1508 @lilypond[fragment,relative,verbatim]
1510 \property Voice.crescendoText = "cresc."
1511 \property Voice.crescendoSpanner = #'dashed-line
1516 For everyday use, we recommend the identifiers @code{\cresc},
1517 @code{endcresc}, @code{\dim} and @code{\enddim}.
1521 Dynamics are grobs of @code{Voice.DynamicText} and
1522 @code{Voice.Hairpin}. They are put together on
1523 @code{Voice.DynamicLineSpanner} to align them vertically.
1532 @cindex @code{\repeat}
1534 To specify repeats, use the @code{\repeat} keyword. Since repeats
1535 should work differently when played or printed, there are a few
1536 different variants of repeats.
1540 Repeated music is fully written (played) out. Useful for MIDI
1541 output, and entering repetitive music.
1544 This is the normal notation: Repeats are not written out, but
1545 alternative endings (voltas) are printed, left to right.
1548 Alternative endings are written stacked. This has limited use but may be
1549 used to typeset two lines of lyrics in songs with repeats, see
1550 @file{input/star-spangled-banner.ly}.
1556 Make beat or measure repeats. These look like percent signs.
1562 * Manual repeat commands::
1564 * Tremolo subdivisions::
1569 @subsection Repeat syntax
1571 The syntax for repeats is
1574 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1577 If you have alternative endings, you may add
1578 @cindex @code{\alternative}
1580 \alternative @code{@{} @var{alternative1}
1582 @var{alternative3} @dots{} @code{@}}
1584 where each @var{alternative} is a music expression.
1586 Normal notation repeats are used like this:
1587 @lilypond[fragment,verbatim]
1589 \repeat volta 2 { c'4 d' e' f' }
1590 \repeat volta 2 { f' e' d' c' }
1593 With alternative endings:
1594 @lilypond[fragment,verbatim]
1596 \repeat volta 2 {c'4 d' e' f'}
1597 \alternative { {d'2 d'} {f' f} }
1600 Folded repeats look like this:
1603 @lilypond[fragment,verbatim]
1605 \repeat fold 2 {c'4 d' e' f'}
1606 \alternative { {d'2 d'} {f' f} }
1610 If you don't give enough alternatives for all of the repeats, then
1611 the first alternative is assumed to be repeated often enough to equal
1612 the specified number of repeats.
1614 @lilypond[fragment,verbatim]
1618 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1619 \alternative { { g4 g g } { a | a a a a | b2. } }
1626 Notice that timing information is not remembered at the start of an
1627 alternative, so you have to reset timing information after a repeat,
1628 e.g. using a bar-check (See @ref{Bar check}), setting
1629 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1630 are also not repeated.
1632 It is possible to nest @code{\repeat}s, although this probably is only
1633 meaningful for unfolded repeats.
1635 Folded repeats offer little more over simultaneous music. However, it
1636 is to be expected that more functionality -- especially for the MIDI
1637 backend -- will be implemented at some point in the future.
1639 Volta repeats are printed over all staves in a score. You must turn them
1640 off explicitly, for example by doing
1642 \property Staff.VoltaBracket = \turnOff
1644 in all but the top staff.
1646 @node Manual repeat commands
1647 @subsection Manual repeat commands
1649 @cindex @code{repeatCommands}
1651 The property @code{repeatCommands} can be used to control the layout of
1652 repeats. Its value is a Scheme list of repeat commands, where each repeat
1660 @item (volta . @var{text})
1661 Print a volta bracket saying @var{text}.
1663 Stop a running volta bracket
1666 @lilypond[verbatim, fragment]
1668 \property Score.repeatCommands = #'((volta "93") end-repeat)
1670 \property Score.repeatCommands = #'((volta #f))
1675 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1677 @node Tremolo repeats
1678 @subsection Tremolo repeats
1679 @cindex tremolo beams
1681 To place tremolo marks between notes, use @code{\repeat} with tremolo
1683 @lilypond[verbatim,center,singleline]
1685 \context Voice \notes\relative c' {
1686 \repeat "tremolo" 8 { c16 d16 }
1687 \repeat "tremolo" 4 { c16 d16 }
1688 \repeat "tremolo" 2 { c16 d16 }
1689 \repeat "tremolo" 4 c16
1694 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1695 @code{Voice.StemTremolo}.
1700 At present, the spacing between tremolo beams is not regular, since the
1701 spacing engine does not notice that not all notes are printed.
1703 @node Tremolo subdivisions
1704 @subsection Tremolo subdivisions
1705 @cindex tremolo marks
1706 @cindex @code{tremoloFlags}
1708 Tremolo marks can be printed on a single note by adding
1709 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1710 A @var{length} value of 8 gives one line across the note stem. If the
1711 length is omitted, then then the last value (stored in
1712 @code{Voice.tremoloFlags}) is used.
1714 @lilypond[verbatim,fragment,center]
1715 c'2:8 c':32 | c': c': |
1721 Tremolos in this style do not carry over into the MIDI output.
1724 @node Measure repeats
1725 @subsection Measure repeats
1727 @cindex percent repeats
1728 @cindex measure repeats
1730 In the @code{percent} style, a note pattern can be repeated. It is
1731 printed once, and then the pattern is replaced with a special sign.
1732 Patterns of a one and two measures are replaced by percent-like signs,
1733 patterns that divide the measure length are replaced by slashes.
1735 @lilypond[verbatim,singleline]
1736 \context Voice { \repeat "percent" 4 { c'4 }
1737 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1741 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1742 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1746 You can not nest percent repeats, e.g. by filling in the first measure
1747 with slashes, and repeating that measure with percents.
1749 @node Rhythmic music
1750 @section Rhythmic music
1757 @node Rhythmic staves
1758 @subsection Rhythmic staves
1760 Sometimes you might want to show only the rhythm of a melody. This can
1761 be done with the rhythmic staff. All pitches of notes on such a staff
1762 are squashed, and the staff itself looks has a single staff line:
1764 @lilypond[fragment,relative,verbatim]
1765 \context RhythmicStaff {
1767 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1774 @section Piano music
1776 Piano music is an odd type of notation. Piano staves are two normal
1777 staves coupled with a brace. The staves are largely independent, but
1778 sometimes voices can cross between the two staves. The
1779 @code{PianoStaff} is especially built to handle this cross-staffing
1780 behavior. In this section we discuss the @code{PianoStaff} and some
1781 other pianistic peculiarities.
1784 * Automatic staff changes::
1785 * Manual staff switches::
1788 * Voice follower lines::
1792 @c . {Automatic staff changes}
1793 @node Automatic staff changes
1794 @subsection Automatic staff changes
1795 @cindex Automatic staff changes
1797 Voices can switch automatically between the top and the bottom
1798 staff. The syntax for this is
1800 \autochange @var{contexttype} @var{musicexp}
1802 This will switch the interpretation context of @var{musicexp} between a
1803 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1804 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1805 of pitch (central C is the turning point), and it looks ahead skipping
1806 over rests to switch rests in advance.
1808 @lilypond[verbatim,singleline]
1809 \score { \notes \context PianoStaff <
1810 \context Staff = "up" {
1811 \autochange Staff \context Voice = VA < \relative c' {
1812 g4 a b c d r4 a g } > }
1813 \context Staff = "down" {
1819 Note how spacer rests are used to prevent the bottom staff from
1820 terminating too soon.
1823 @node Manual staff switches
1824 @subsection Manual staff switches
1826 @cindex manual staff switches
1827 @cindex staff switch, manual
1829 Voices can be switched between staves manually, using the following command:
1831 \translator Staff = @var{staffname} @var{music}
1833 The string @var{staffname} is the name of the staff. It switches the
1834 current voice from its current staff to the Staff called
1835 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1838 The formal definition of this construct is obtuse, but for the sake of
1839 completeness we give it here.
1840 @cindex @code{\translator}
1842 \translator @var{contexttype} = @var{name}
1844 Formally, this construct is a music expression indicating
1845 that the context which is a direct child of the context of type
1846 @var{contexttype} should be shifted to a context of type
1847 @var{contexttype} and the specified name.
1855 Piano pedal instruction can be expressed using
1856 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1857 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1859 These identifiers are shorthands for spanner commands of the types
1860 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1862 @lilypond[fragment,verbatim]
1863 c''4 \spanrequest \start "Sustain" c''4
1864 c''4 \spanrequest \stop "Sustain"
1867 The symbols that are printed can be modified by setting
1868 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1869 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1875 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1881 @subsection Arpeggio
1884 @cindex broken arpeggio
1885 @cindex @code{\arpeggio}
1887 You can specify an arpeggio sign on a chord by attaching an
1888 @code{\arpeggio} to a note of the chord.
1891 @lilypond[fragment,relative,verbatim]
1892 \context Voice <c\arpeggio e g c>
1895 When an arpeggio crosses staves in piano music, you attach an arpeggio
1896 to the chords in both staves, and set
1897 @code{PianoStaff.connectArpeggios}.
1899 @lilypond[fragment,relative,verbatim]
1900 \context PianoStaff <
1901 \property PianoStaff.connectArpeggios = ##t
1902 \context Voice = one { <c'\arpeggio e g c> }
1903 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1907 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1908 are @code{PianoStaff.Arpeggio}.
1912 It is not possible to mix connected arpeggios and unconnected arpeggios
1917 @node Voice follower lines
1918 @subsection Voice follower lines
1920 @cindex follow voice
1921 @cindex staff switching
1924 @cindex @code{followVoice}
1926 Whenever a voice switches to another staff a line connecting the notes
1927 can be printed automatically. This is enabled if the property
1928 @code{PianoStaff.followVoice} is set to true:
1930 @lilypond[fragment,relative,verbatim]
1931 \context PianoStaff <
1932 \property PianoStaff.followVoice = ##t
1933 \context Staff \context Voice {
1935 \translator Staff=two
1938 \context Staff=two {\clef bass \skip 1*2 }
1942 The associated grob is @code{Voice.VoiceFollower}.
1952 * Automatic syllable durations::
1958 @subsection Lyrics mode
1961 To print lyrics, you must first make a music expression from the lyric
1962 text. That music expression can be printed by selecting an appropriate
1966 @cindex @code{\lyrics}
1968 You can enter lyrics in a special input mode of LilyPond. This mode is
1969 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1970 The purpose of this mode is that you can enter lyrics as plain text,
1971 punctuation and accents without any hassle.
1973 Syllables are entered like notes, with pitches replaced by text. For
1974 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1975 the hyphen has no special meaning for lyrics, and does not introduce
1978 Spaces can be introduced into a lyric either by using quotes:
1979 @code{"He could"4 not4} or by using an underscore without quotes:
1980 @code{He_could4 not4}. All unquoted underscores are converted to
1983 The precise definition of this mode can be found in @ref{Lyrics mode
1986 @c . {Printing lyrics}
1987 @node Printing lyrics
1988 @subsection Printing lyrics
1991 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1993 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
1995 @lilypond[verbatim,singleline]
1996 \addlyrics \notes \relative c' {
1998 \property Staff.automaticMelismata = ##t
1999 d'2 c4 b16 ( a g a b a b ) c a2
2000 b2 c4 b8 ( a16 g ) a4 g2 }
2001 \context Lyrics \lyrics {
2003 share the soft -- ware; }
2007 Notes and syllable durations are matched automatically. This is
2008 accomplished using @code{\addlyrics}, which is documented in
2009 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2010 the melody staff will cause slurs to be interpreted as melismata.
2012 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2015 @cindex lyric extender
2018 As you can see, extender lines are entered as @code{__}. This will
2019 create an extender, a line that extends over the entire duration of the
2020 lyric. This line will run all the way to the start of the next lyric,
2021 so you may want to shorten it by using a blank lyric (using @code{_}).
2022 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2027 If you want to have hyphens centered between syllables (rather than
2028 attached to the end of the first syllable) you can use the special
2029 `@code{-}@code{-}' lyric as a separate word between syllables. This
2030 will result in a hyphen whose length varies depending on the space
2031 between syllables. It will be centered between the syllables. The grob
2032 for this symbol is @code{LyricsVoice.LyricHyphen}.
2034 @cindex Lyric hyphen
2036 @node Automatic syllable durations
2037 @subsection Automatic syllable durations
2038 @cindex Automatic syllable durations
2040 @cindex automatic lyric durations
2041 @cindex @code{\addlyrics}
2043 If you have lyrics that are set to a melody, you can copy the rhythm
2044 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2047 \addlyrics @var{musicexpr1 musicexpr2}
2050 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2051 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2052 when there are events in @var{musicexpr1}.
2054 @cindex @code{automaticMelismata}
2056 If the property @code{automaticMelismata} is set in the
2057 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2060 @lilypond[verbatim,fragment]
2063 \property Voice.automaticMelismata = ##t
2064 c8 () cis d8. e16 f2
2066 \context Lyrics \lyrics {
2070 If you want the lyric lines to be above the melody staff, or in some
2071 other, more complex configuration, then build that configuration first
2072 using simultaneous music, and use @code{\addlyrics} after that.
2074 @lilypond[verbatim, singleline]
2076 \context Lyrics = LA { s1 }
2077 \context Staff = SA { s1 }
2079 \context Staff = SA \relative c' { c4 e g g }
2080 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2083 For @code{\addlyrics} you should use a single rhythm melody, and single
2084 rhythm lyrics (a constant duration is the obvious choice). If you do
2085 not, you can get undesired effects when using multiple stanzas:
2087 @lilypond[verbatim,fragment]
2090 c8 () cis d8. e16 f2
2092 \context Lyrics \lyrics
2097 It is valid (but probably not very useful) to use notes instead of
2098 lyrics for @var{musicexpr2}.
2101 @subsection More stanzas
2105 If you have multiple stanzas printed underneath each other, the vertical
2106 groups of syllables should be aligned around punctuation. LilyPond can
2107 do this if you tell it which lyric lines belong to which melody.
2109 To this end, give the Voice context an identity, and set the LyricsVoice
2110 to a name starting with that identity followed by a dash.
2111 In the following example, the Voice
2112 identity is @code{duet}, and the identities of the LyricsVoices are
2113 @code{duet-1} and @code{duet-2}.
2116 @lilypond[singleline,verbatim]
2119 \notes \relative c'' \context Voice = duet { \time 3/4
2121 \lyrics \context Lyrics <
2122 \context LyricsVoice = "duet-1" {
2123 \property LyricsVoice . stanza = "Bert"
2124 Hi, my name is bert. }
2125 \context LyricsVoice = "duet-2" {
2126 \property LyricsVoice . stanza = "Ernie"
2127 Ooooo, ch\'e -- ri, je t'aime. }
2132 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2133 first system) and @code{LyricsVoice.stz} for the following
2134 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2140 @cindex stanza numbering
2148 LilyPond has support for both entering and printing chords. Chords are
2149 characterized by a set of pitches. They are
2150 internally stored as simultaneous music expressions. This means you can
2151 enter chords by name and print them as note head, enter them as notes
2152 and print them as chord names, or (the most common case) enter them by
2153 name, and print them as name.
2156 @lilypond[verbatim,singleline]
2157 twoWays = \notes \transpose c'' {
2167 < \context ChordNames \twoWays
2168 \context Voice \twoWays > }
2171 Note that this example also shows that the chord printing routines do
2172 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2173 interpret this as an inversion.
2177 * Printing named chords::
2182 @subsection Chords mode
2185 Chord mode is a mode where you can input sets of pitches using common
2186 names. It is introduced by the keyword @code{\chords}. It is similar
2187 to note mode, but words are also looked up in a chord modifier table
2188 (containing @code{maj}, @code{dim}, etc).
2190 Dashes and carets are used to indicate chord additions and subtractions,
2191 so articulation scripts can not be entered in Chord mode.
2193 The syntax for named chords is as follows:
2195 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2198 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2199 the chord duration in the usual notation. There are two kinds of
2200 modifiers. One type is formed by @emph{chord additions}. Additions are
2201 obtained by listing intervals separated by dots. An interval is written
2202 by its number with an optional @code{+} or @code{-} to indicate raising
2203 or lowering by half a step. Chord additions have two effects: they adds
2204 the specified interval and all lower odd numbered intervals to the
2205 chord, and they may lower or raise the specified interval.
2207 Throughout these examples, chords have been shifted around the staff
2208 using @code{\transpose}.
2210 @lilypond[fragment,verbatim]
2214 c:9 c:9-.5+.7+ c:3-.5-
2224 The second type of modifier that may appear after the @code{:} is a
2225 named modifier. Named modifiers are listed in the file
2226 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2227 @code{min} which lower the 3rd half a step, `@code{aug}' which
2228 raises the 5th, `@code{dim}' which lowers the 5th,
2229 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2230 which replaces the 5th with a 4th.
2232 @lilypond[fragment,verbatim]
2235 c1:m c:min7 c:maj c:aug c:dim c:sus
2241 Chord subtractions are used to eliminate notes from a chord. The
2242 notes to be subtracted are listed after a @code{^} character,
2245 @lilypond[fragment,verbatim,center]
2254 Chord inversions can be specified by appending `@code{/}' and the name
2255 of a single note to a chord. In a chord inversion, the inverted note is
2256 transposed down until it is the lowest note in the chord. If the note
2257 is not in the chord, a warning will be printed.
2259 @lilypond[fragment,verbatim,center]
2269 Bass notes can be added by `@code{/+}' and
2270 the name of a single note to a chord. This has the effect of
2271 adding the specified note to the chord, lowered by an octave,
2272 so it becomes the lowest note in the chord.
2274 @lilypond[fragment,verbatim,center]
2285 Implementation details are quite gory. For example @code{c:4} not only
2286 adds a fourth, but also removes the third.
2289 @c . {Printing named chords}
2290 @node Printing named chords
2291 @subsection Printing named chords
2293 @cindex printing chord names
2296 @cindex @code{ChordNames}
2299 For displaying printed chord names, use the @code{ChordNames} context.
2300 The chords may be entered either using the notation described above, or
2301 directly using simultaneous music.
2303 @lilypond[verbatim,singleline]
2305 \chords {a1 b c} <d f g> <e g b>
2309 \context ChordNames \scheme
2310 \context Staff \transpose c'' \scheme
2315 You can make the chord changes stand out by setting
2316 @code{ChordNames.chordChanges} to true. This will only display chord
2317 names when there's a change in the chords scheme and at the start of a
2322 c1:m c:m \break c:m c:m d
2326 \context ChordNames {
2327 \property ChordNames.chordChanges = ##t
2329 \context Staff \transpose c'' \scheme
2333 LilyPond examines chords specified as lists of notes to determine a name
2334 to give the chord. LilyPond will not try to identify chord inversions or
2335 an added bass note, which may result in strange chord names when chords
2336 are entered as a list of pitches:
2338 @lilypond[verbatim,center,singleline]
2347 \context ChordNames \scheme
2348 \context Staff \scheme
2354 By default, a chord name system proposed by Harald Banter (See
2355 @ref{Literature}) is used. The system is very regular and predictable.
2356 Typical American style chord names may be selected by setting the
2357 @code{style} property of the @code{ChordNames.ChordName} grob to
2358 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2360 Routines that determine the names to be printed are written in Scheme,
2361 and may be customized by the user. The code can be found in
2362 @file{scm/chord-name.scm}. Here's an example showing the differences in
2366 @c maybe just junk verbatim option?
2367 @lilypond[verbatim,singleline]
2377 \context ChordNames = banter \scheme
2378 \context ChordNames = american {
2379 \property ChordNames.ChordName \override
2380 #'style = #'american \scheme }
2381 \context ChordNames = jazz {
2382 \property ChordNames.ChordName \override
2383 #'style = #'jazz \scheme }
2384 \context Staff \transpose c'' \scheme
2391 @section Writing parts
2393 Orchestral music involves some special notation, both in the full score,
2394 as in the individual parts. This section explains how to tackle common
2395 problems in orchestral music.
2402 * Instrument names::
2404 * Sound output for transposing instruments::
2405 * Multi measure rests::
2406 * Automatic part combining::
2407 * Hara kiri staves::
2410 @c . {Rehearsal marks}
2411 @node Rehearsal marks
2412 @subsection Rehearsal marks
2413 @cindex Rehearsal marks
2415 @cindex @code{\mark}
2416 @cindex @code{Mark_engraver}
2419 \mark @var{unsigned}
2424 This command prints a rehearsal mark above the system. You can provide
2425 a number, a string or a markup text as argument. If you use
2426 @code{\default}, the value of property @code{rehearsalMark} is used and
2427 automatically incremented.
2429 @lilypond[fragment,verbatim]
2435 c1 \mark #'(music "scripts-segno")
2440 The grob is @code{Score.RehearsalMark}. See
2441 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2444 @subsection Bar numbers
2446 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2447 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2451 It is not possible to have bar numbers printed at regular intervals
2454 @node Instrument names
2455 @subsection Instrument names
2457 You can specify an instrument name for a staff by setting
2458 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2459 before the start of the staff. For the first start, @code{instrument} is
2460 used, for the next ones @code{instr} is used.
2462 @lilypond[verbatim,singleline]
2463 \property Staff.instrument = "ploink " { c''4 }
2466 You can also use markup texts to construct more complicated instrument
2470 @lilypond[verbatim,singleline]
2472 '((font-relative-size . -2 ) (music "accidentals--1")))
2475 \property Staff.instrument = #`((kern . 0.5) (lines
2476 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2484 When you put a name on a grand staff or piano staff the width of the
2485 brace is not taken into account. You must add extra spaces to the end of
2486 the name to avoid a collision.
2489 @subsection Transpose
2491 @cindex transposition of pitches
2492 @cindex @code{\transpose}
2494 A music expression can be transposed with @code{\transpose}. The syntax
2497 \transpose @var{pitch} @var{musicexpr}
2500 This means that middle C in @var{musicexpr} is transposed to
2503 @code{\transpose} distinguishes between enharmonic pitches: both
2504 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2505 a tone. The first version will print sharps and the second version
2508 @lilypond[fragment,verbatim]
2511 { \key e \major c d e f }
2513 \transpose des'' { \key e \major c d e f }
2514 \transpose cis'' { \key e \major c d e f }
2518 If you want to use both @code{\transpose} and @code{\relative}, then
2519 you must use @code{\transpose} first. @code{\relative} will have no
2520 effect music that appears inside a @code{\transpose}.
2522 @node Sound output for transposing instruments
2523 @subsection Sound output transposing instruments
2525 When you want to make a MIDI file from a score containing transposed and
2527 instruments, you have to instruct LilyPond the pitch offset (in
2528 semitones) for the transposed instruments. This is done using the
2529 @code{transposing} property. It does not affect printed output.
2531 @cindex @code{transposing}
2534 \property Staff.instrument = #"Cl. in B-flat"
2535 \property Staff.transposing = #-2
2538 @c . {Multi measure rests}
2539 @node Multi measure rests
2540 @subsection Multi measure rests
2541 @cindex Multi measure rests
2545 Multi measure rests are entered using `@code{R}'. It is specifically
2546 meant for full bar rests and for entering parts: the rest can expand to
2548 rests, or it can be printed as a single multimeasure rest This expansion
2549 is controlled by the property @code{Score.skipBars}. If this is set to true,
2550 Lily will not expand empty measures, and the appropriate number is added
2553 @lilypond[fragment,verbatim]
2554 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2557 Notice that the @code{R2.} is printed as a whole rest, centered in the
2560 @cindex whole rests for a full measure
2564 Currently, there is no way to automatically condense multiple rests into
2565 a single multimeasure rest.
2567 @cindex condensing rests
2569 @node Automatic part combining
2570 @subsection Automatic part combining
2571 @cindex automatic part combining
2572 @cindex part combiner
2575 Automatic part combining is used to merge two parts of music onto a
2576 staff in an intelligent way. It is aimed primarily at typesetting
2577 orchestral scores. When the two parts are identical for a period of
2578 time, only one is shown. In places where the two parts differ, they are
2579 typeset as separate voices, and stem directions are set automatically.
2580 Also, solo and @emph{a due} parts can be identified and marked.
2582 The syntax for part combining is
2585 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2587 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2588 combined into one context of type @var{context}. The music expressions
2589 must be interpreted by contexts whose names should start with @code{one}
2592 The most useful function of the part combiner is to combine parts into
2593 one voice, as common for wind parts in orchestral scores:
2595 @lilypond[verbatim,singleline,fragment]
2597 \context Voice=one \partcombine Voice
2598 \context Thread=one \relative c'' {
2601 \context Thread=two \relative c'' {
2607 Notice that the first @code{g} appears only once, although it was
2608 specified twice (once in each part). Stem, slur and tie directions are
2609 set automatically, depending whether there is a solo or unisono. The
2610 first part (with context called @code{one}) always gets up stems, and
2611 `solo', while the second (called @code{two}) always gets down stems and
2614 If you just want the merging parts, and not the textual markings, you
2615 may set the property @var{soloADue} to false.
2617 @lilypond[verbatim,singleline,fragment]
2619 \property Staff.soloADue = ##f
2620 \context Voice=one \partcombine Voice
2621 \context Thread=one \relative c'' {
2624 \context Thread=two \relative c'' {
2630 There are a number of other properties that you can use to tweak the
2631 behavior of part combining, refer to the automatically generated
2632 documentation of @reng{Thread_devnull_engraver} and
2633 @reng{Voice_devnull_engraver}. Look at the documentation of the
2634 responsible engravers, @code{Thread_devnull_engraver},
2635 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2639 In @code{soloADue} mode, when the two voices play the same notes on and
2640 off, the part combiner may typeset @code{a2} more than once in a
2643 @lilypond[fragment,singleline]
2645 \context Voice=one \partcombine Voice
2646 \context Thread=one \relative c'' {
2649 \context Thread=two \relative c'' {
2655 @cindex @code{Thread_devnull_engraver}
2656 @cindex @code{Voice_engraver}
2657 @cindex @code{A2_engraver}
2659 @node Hara kiri staves
2660 @subsection Hara kiri staves
2662 In orchestral scores, staff lines that only have rests are usually removed.
2663 This saves some space. LilyPond also supports this through the hara
2664 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2665 the Japanese Samourai warriors.} staff. This staff commits suicide when
2666 it finds itself to be empty after the line-breaking process. It will
2667 not disappear when it contains normal rests, you must use multi measure
2670 The hara kiri staff is specialized version of the Staff context. It is
2671 available as the context identifier @code{\HaraKiriStaffContext}.
2672 Observe how the second staff in this example disappears in the second
2677 \notes \relative c' <
2678 \context Staff = SA { e4 f g a \break c1 }
2679 \context Staff = SB { c4 d e f \break R1 }
2683 \translator { \HaraKiriStaffContext }
2696 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2697 staff context symbol that appears at the end of a staff line. It
2698 anticipates the pitch of the first note(s) of the following line and
2699 thus helps the player or singer to manage line breaks during
2700 performance, thus enhancing readability of a score.
2705 \property Staff.Custos \set #'style = #'mensural
2710 \consists Custos_engraver
2716 Custodes were frequently used in music notation until the 17th century.
2717 There were different appearances for different notation styles.
2718 Nowadays, they have survived only in special forms of musical notation
2719 such as via the @emph{editio vaticana} dating back to the beginning of
2722 For typesetting custodes, just put a @code{Custos_engraver} into the
2723 @code{StaffContext} when declaring the @code{\paper} block. In this
2724 block, you can also globally control the appearance of the custos symbol
2725 by setting the custos @code{style} property. Currently supported styles
2726 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2733 \consists Custos_engraver
2734 Custos \override #'style = #'mensural
2739 The property can also be set locally, for example in a @code{\notes}
2744 \property Staff.Custos \override #'style = #'vaticana
2745 c'1 d' e' d' \break c' d' e' d'
2749 @c . {Tuning output}
2751 @section Tuning output
2753 LilyPond tries to take as much formatting as possible out of your
2754 hands. Nevertheless, there are situations where it needs some help, or
2755 where you want to override its decisions. In this section we discuss
2756 ways to do just that.
2758 Formatting is internally done by manipulating so called grobs (graphic
2759 objects). Each grob carries with it a set of properties (grob
2760 properties) specific to that object. For example, a stem grob has
2761 properties that specify its direction, length and thickness.
2763 The most direct way of tuning the output is by altering the values of
2764 these properties. There are two ways of doing that: first, you can
2765 temporarily change the definition of a certain type of grob, thus
2766 affecting a whole set of objects. Second, you can select one specific
2767 object, and set a grob property in that object.
2770 * Tuning groups of grobs ::
2771 * Tuning per grob ::
2779 @node Tuning groups of grobs
2780 @subsection Tuning groups of grobs
2782 @cindex grob description
2786 A grob definition is a Scheme association list, that is stored in a
2787 context property. By assigning to that property (using plain
2788 @code{\property}), you can change the resulting grobs.
2790 @lilypond[verbatim, fragment]
2791 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2794 The @code{\property} assignment effectively empties the definition of
2795 the Stem object. One of the effects is that the recipe of how it should be
2796 printed is erased, with the effect of rendering it invisible. The above
2797 assignment is available as a standard identifier, for the case that you
2801 \property Voice.Stem = \turnOff
2808 This mechanism is fairly crude, since you can only set, but not modify,
2809 the definition of a grob. For this reason, there is a more advanced
2812 The definition of a grob is actually a list of default grob
2813 properties. For example, the definition of the Stem grob (available in
2814 @file{scm/grob-description.scm}), defines the following values for
2819 (beamed-lengths . (0.0 2.5 2.0 1.5))
2820 (Y-extent-callback . ,Stem::height)
2824 You can add a property on top of the existing definition, or remove a
2825 property, thus overriding the system defaults:
2827 c'4 \property Voice.Stem \override #'thickness = #4.0
2828 c'4 \property Voice.Stem \revert #'thickness
2831 You should balance @code{\override} and @code{\revert}. If that's too
2832 much work, you can use the @code{\set} shorthand. It performs a revert
2833 followed by an override. The following example gives exactly the same
2834 result as the previous one.
2836 c'4 \property Voice.Stem \set #'thickness = #4.0
2837 c'4 \property Voice.Stem \set #'thickness = #0.8
2840 If you use @code{\set}, you must explicitly restore the default.
2843 Formally the syntax for these constructions is
2845 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2846 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2847 \property @var{context}.@var{grobname} \revert @var{symbol}
2849 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2850 and @var{grobname} are strings and @var{value} is a Scheme expression.
2853 If you revert a setting which was not set in the first place, then it
2854 has no effect. However, if the setting was set as a system default, it
2855 may remove the default value, and this may give surprising results,
2856 including crashes. In other words, @code{\override} and @code{\revert},
2857 must be carefully balanced.
2859 These are examples of correct nesting of @code{\override}, @code{\set},
2862 A clumsy but correct form:
2864 \override \revert \override \revert \override \revert
2867 Shorter version of the same:
2869 \override \set \set \revert
2872 A short form, using only @code{\set}. This requires you to know the
2875 \set \set \set \set @var{to default value}
2878 If there is no default (i.e. by default, the grob property is unset),
2881 \set \set \set \revert
2884 For the digirati, the grob description is an Scheme association
2885 list. Since a Scheme list is a singly linked list, we can treat it as a
2886 stack, and @code{\override} and @code{\revert} are just push and pop
2887 operations. This pushing and popping is also used for overriding
2888 automatic beaming settings.
2892 LilyPond will hang or crash if @var{value} contains cyclic references.
2893 The backend is not very strict in type-checking grob properties. If you
2894 @code{\revert} properties that are expected to be set by default,
2897 Some grobs are created at the moment that their context is created. An
2898 example of such a grob is the staff itself (i.e. the horizontal lines).
2899 You can not change the appearance of the staff symbol by manipulating
2900 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2901 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2902 created before any @code{\override} is effective. You can deal with this
2903 either overriding properties in a @code{\translator} definition, or by
2904 using @code{\outputproperty}.
2909 @node Tuning per grob
2910 @subsection Tuning per grob
2912 @cindex \outputproperty
2914 A second way of tuning grobs is the more arcane @code{\outputproperty}
2915 feature. The syntax is as follows:
2917 \outputproperty @var{predicate} @var{symbol} = @var{value}
2919 Here @code{predicate} is a Scheme function taking a grob argument, and
2920 returning a boolean. This statement is processed by the
2921 @code{Output_property_engraver}. It instructs the engraver to feed all
2922 grobs that it sees to @var{predicate}. Whenever the predicate returns
2923 true, the grob property @var{symbol} will be set to @var{value}.
2925 You will need to combine this statement with @code{\context} to select
2926 the appropriate context to apply this to.
2928 Here are some random examples.
2931 In the following example, all note heads occurring at current staff
2932 level, are shifted up and right by setting their @code{extra-offset}
2935 @lilypond[fragment,verbatim,singleline]
2937 \context Staff \outputproperty
2938 #(make-type-checker 'note-head-interface)
2939 #'extra-offset = #'(0.5 . 0.75)
2943 @cindex @code{extra-offset}
2945 In this example, the predicate checks the @code{text} grob property, to
2946 shift only the `m.d.' text, but not the fingering instruction "2".
2947 @lilypond[verbatim,singleline]
2948 #(define (make-text-checker text)
2949 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2952 \notes\relative c''' {
2953 \property Voice.Stem \set #'direction = #1
2954 \outputproperty #(make-text-checker "m.d.")
2955 #'extra-offset = #'(-3.5 . -4.5)
2963 If possible, avoid this feature: the semantics are not very clean, and
2964 the syntax and semantics are up for rewrite.
2970 @subsection What to tune?
2972 This all tells you how to tune grobs, but you don't know what variables
2973 to set? The question is not answered in this part of the manual
2974 (although you may encounter some examples.).
2976 Grob properties are tied directly to the implementation of LilyPond, and
2977 they are thus a moving target. Documentation of such variables is in the
2978 automatically generated documentation. Description of properties are
2979 generated from the source code for each version. This documentation is
2980 therefore more up to date. It should be available from the same place
2981 where you got this manual.
2983 To decide how to tune a grob, you need to find the following information
2986 which grob to modify
2988 which property to modify
2990 which context the grob comes from.
2993 Included with the automatically generated documentation is a master list
2994 of grobs. Selecting a grob will take you to an overview of the
2995 properties available for that grob.
2997 There is also a master list of contexts. Selecting one takes you to an
2998 overview of that context which lists which grob types are created there.
3001 @node Font selection
3002 @subsection Font selection
3004 Most graphics in LilyPond are composed of characters of fonts. You can
3005 alter the characteristics of the font by setting certain grob
3006 properties. The mechanism that is used for this resembles La@TeX{}'s New
3007 Font Selection Scheme. Within this scheme, a font is entirely
3008 characterized by its font name.
3010 For each grob that uses fonts (in other words, each grob that supports
3011 @code{font-interface}) a font-name must be selected before it can be
3012 printed. The font name is selected by looking at a number of grob
3017 A symbol indicating the general class of the typeface. Supported are
3018 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3019 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3020 signs) and @code{typewriter}
3023 A symbol indicating the shape of the font, there are typically several
3024 font shapes available for each font family. Choices are @code{italic},
3025 @code{caps} and @code{upright}
3028 A symbol indicating the series of the font. There are typically several
3029 font series for each font family and shape. Choices are @code{medium}
3032 @item font-relative-size
3033 A number indicating the size relative the standard size. For example,
3034 with 20pt staff height, relative size -1 corresponds to 16pt staff
3035 height, and relative size +1 corresponds to 23 pt staff height.
3037 @item font-design-size
3038 A number indicating the design size of the font.
3040 This is a feature of the Computer Modern Font: each point size has a
3041 slightly different design. Smaller design sizes are relatively wider,
3042 which enhances readability. Scalable type faces such TrueType and Adobe
3043 Type1 usually come as ``one design fits all sizes''.
3046 The name of the font, without the design size, e.g. @code{cmr},
3047 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3052 The font is selected by taking the first font that satisfies all
3053 qualifiers specified. You can override any of these fields through
3054 @code{\override} and @code{\revert}. The special value @code{*} matches
3055 any value for that qualifier.
3058 \property Lyrics.LyricText \override #'font-series = #'bold
3059 \property Lyrics.LyricText \override #'font-shape = #'*
3062 @cindex @code{font-style}
3064 There are also pre-cooked font selection qualifiers. These are selected
3065 through the grob property @code{font-style}. For example, the style
3066 @code{finger} selects family @code{number} and relative size @code{-3}.
3067 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3068 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3071 The style sheets and tables for selecting fonts are located in
3072 @file{scm/font.scm}. Refer to this file for more information.
3076 Relative size is not linked to any real size.
3078 There is no mechanism to select magnification of particular fonts,
3079 meaning that you don't have access to continuously scaled fonts. You
3080 can scale the entire output, of course, see @ref{Output scaling}.
3082 There is no style sheet provided for other fonts besides the @TeX{}
3085 @cindex font selection
3086 @cindex font magnification
3087 @cindex @code{font-interface}
3091 @subsection Text markup
3095 LilyPond has an internal mechanism to typeset texts. You can
3096 form text markup expressions by composing scheme expressions
3097 in the following way.
3099 @lilypond[verbatim, singleline]
3104 c^#'(italic "italic")
3105 d_#'((bold italic) "ff")
3107 f_#'(lines "one" (bold "two"))
3108 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3112 Normally, the Scheme markup text is stored in the @code{text} property
3113 of a grob. Formally, it is defined as follows:
3116 text: string | (head? text+)
3117 head: markup | (markup+)
3118 markup-item: property | abbrev
3119 property: (@var{key} . @var{value})
3120 abbrev: @code{columns lines roman music bold italic named super sub}
3121 @code{overstrike text finger volta timesig mmrest mark script}
3122 @code{large Large dynamic}
3125 The markup is broken down and converted into a list of grob properties,
3126 which are prepended to the property list. The @var{key}-@var{value}
3127 pair is a grob property. A list of properties available is included in
3128 the generated documentation for @rint{Text_interface}.
3130 The following abbreviations are currently defined:
3133 horizontal mode: set all text on one line (default)
3135 vertical mode: set every text on a new line
3139 selects the Feta font (the standard font for music notation glyphs),
3140 and uses named lookup
3147 lookup by character name
3149 plain text lookup (by character value)
3155 the next text or character overstrikes this one
3157 select fingering number fontstyle
3159 select volta number fontstyle
3161 select time signature number fontstyle
3163 select multi measure rest number fontstyle
3165 select mark number fontstyle
3167 select scriptsize roman fontstyle
3169 select large roman fontstyle
3171 select Large roman fontstyle
3173 select dynamics fontstyle
3177 @cindex metronome mark
3179 One practical application of complicated markup is to fake a metronome
3183 #(define note '(columns
3184 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3185 #(define eight-note `(columns ,note ((kern . -0.1)
3186 (music ((raise . 3.5) "flags-u3")))))
3187 #(define dotted-eight-note
3188 `(columns ,eight-note (music "dots-dot")))
3191 \notes\relative c'' {
3192 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3198 TextScript \override #'font-shape = #'upright
3204 @node Invisible grobs
3205 @subsection Invisible grobs
3206 @cindex invisible grobs
3210 ben nog steeds niet kapot van de informatiedichtheid hier.
3216 You can imagine a number of situations where you would want to make
3217 certain grobs not show up in the output. There may be aesthetic
3218 reasons, to make the output resemble an (old) manuscript as close as
3219 possible, or to make lessons or exercises for students.
3221 Grobs can be made invisible in a number of ways:
3223 Here's an example with blanked-out notes and stems:
3224 @lilypond[singleline,verbatim]
3226 \property Voice.NoteHead \override
3228 \property Voice.Stem \override
3229 #'transparent = ##t }
3232 \property Voice.NoteHead \revert #'transparent
3233 \property Voice.Stem \revert #'transparent }
3236 \notes\relative c'' {
3238 a b c b \blanknotes c \unblanknotes d
3242 This method makes the grobs invisible but they still take the normal space.
3243 To remove all traces of the grob, you can redefine the function
3247 \notes\relative c'' {
3250 as bes c bes c d \break
3251 \property Staff.KeySignature \override #'molecule-callback = #'()
3254 \paper{linewidth=5.0\cm indent=0}
3258 A very rigorous way of removing grobs from the whole score is to remove
3259 the engraver that creates them. For example,
3261 @lilypond[singleline,verbatim]
3262 \score {\notes { c'4 d'8 e'8 g2 }
3263 \paper { \translator {
3265 \remove Stem_engraver
3271 @subsection Dirty tricks
3272 @cindex embedded tex
3274 It is possible to use @TeX{} commands in the strings, but this should be
3275 avoided because it makes it impossible for LilyPond to compute the
3276 exact length of the string, which may lead to collisions. Also, @TeX{}
3277 commands won't work with direct PostScript output (see @ref{PostScript
3280 @lilypond[fragment,relative,verbatim]
3281 a'^"3 $\\times$ \\`a deux"
3284 You can also use raw PostScript commands embedded in text scripts. This
3285 offers ultimate flexibility, but requires you to learn PostScript.
3286 Currently, embedded PostScript will @strong{not} work with direct
3287 PostScript output. Note that all dimensions that you use are in staff
3292 \notes \relative c'' {
3293 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3294 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3295 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3299 \paper { linewidth = 70*\staffspace }
3306 @section Page layout
3309 The page layout is the combined product of LilyPond formatting notation,
3310 and (La)@TeX{} putting the notation on a page, including page breaks.
3311 The part of LilyPond is documented here.
3325 @subsection Paper block
3328 The most important output definition is the @code{\paper} block, for
3329 music notation. The syntax is
3332 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3335 where each of the items is one of
3338 @item An assignment.
3340 @item A context definition. See @ref{Interpretation context} for
3341 more information on context definitions.
3343 @item \stylesheet declaration. Its syntax is
3345 \stylesheet @var{alist}
3348 See @file{scm/font.scm} for details of @var{alist}.
3349 @item an @code{\elementdescriptions} declaration.
3351 \elementdescriptions @var{alist}
3353 See @file{scm/grob-description.scm} for details of
3354 @var{alist}. This command is not user-serviceable.
3358 @c . {Paper variables}
3359 @node Paper variables
3360 @subsection Paper variables
3361 @cindex Paper variables
3363 The paper block has some variables you may want to use or change:
3366 @cindex @code{indent}
3368 The indentation of the first line of music.
3369 @cindex @code{staffspace}
3371 @item @code{staffspace}
3372 The distance between two staff lines, calculated from the center
3375 @cindex @code{linewidth}
3376 @item @code{linewidth}
3377 Sets the width of the lines.
3379 If set to a negative value, a single unjustified line is produced.
3380 @c rename to singleLinePaper ?
3381 The shorthand @code{\singleLine} defines a default paper block that
3382 produces a single line.
3384 @cindex @code{textheight}
3386 @item @code{textheight}
3387 Sets the total height of the music on each page. Only used by
3390 @cindex @code{interscoreline}
3392 @item @code{interscoreline}
3393 Sets the spacing between systems. The default is 16pt.
3395 @cindex @code{interscorelinefill}
3397 @item @code{interscorelinefill}
3398 If set to a positive number, the distance between the score
3399 lines will stretch in order to fill the full page. In that
3400 case @code{interscoreline} specifies the minimum spacing.
3405 @cindex @code{stafflinethickness}
3407 @item @code{stafflinethickness}
3408 Determines the thickness of staff lines, and also acts as a scaling
3409 parameter for other line thicknesses.
3412 You may enter these dimension using units (@code{cm}, @code{in},
3413 @code{mm}, @code{pt}), or relative to another dimension
3415 linewidth = 20.0 * \staffspace
3422 @subsection Font size
3425 The Feta font provides musical symbols at six different sizes. These
3426 fonts are 11 point, 13 point, 16 point, 20 point,
3427 23 point, and 26 point. The point size of a font is the
3428 height of the five lines in a staff when displayed in the font.
3430 Definitions for these sizes are the files @file{paperSZ.ly}, where
3431 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3432 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3433 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3434 @code{paperTwentysix} are defined respectively. The default
3435 @code{\paper} block is also set.
3437 The font definitions are generated using a Scheme function. For more
3438 details, see the file @file{scm/font.scm}.
3444 @subsection Paper size
3449 @cindex @code{papersize}
3451 To change the paper size, you must first set the
3452 @code{papersize} variable at top level. Set it to
3453 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3454 specification, you must set the font as described above. If you want
3455 the default font, then use the 20 point font.
3459 \include "paper16.ly"
3462 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3463 will set the paper variables @code{hsize} and @code{vsize} (used by
3468 @subsection Line break
3471 @cindex breaking lines
3473 Line breaks are normally computed automatically. They are chosen such
3474 that the resulting spacing has low variation, and looks neither cramped
3477 Occasionally you might want to override the automatic breaks; you can do
3478 this by specifying @code{\break}. This will force a line break at this
3479 point. Do remember that line breaks can only occur at places where there
3480 are bar lines. If you want to have a line break where there is no
3481 bar line, you can force an invisible bar line by entering @code{\bar
3482 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3484 @cindex @code{\penalty}
3486 The @code{\break} and @code{\noBreak} commands are defined in terms of
3487 the penalty command:
3492 This encourages or discourages LilyPond to make a line break at this
3497 The scaling of the @code{\penalty} argument is not well-defined. The
3498 command is rather kludgey, and slated for rewriting.
3502 @subsection Page break
3505 @cindex breaking pages
3507 Page breaks are normally computed by @TeX{}, so they are not under
3508 direct control of LilyPond. However, you can insert a commands into the
3509 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3510 the command @code{\newpage}
3511 @cindex @code{\newpage}
3517 @c why do so difficult?
3518 @c maybe should explain contents of between-system.ly,
3519 @c but not now, we're talking about page breaks here.
3521 @c details, see the example file @file{input/test/between-systems.ly}
3524 @c . {Output scaling}
3525 @node Output scaling
3526 @subsection Output scaling
3541 There is no mechanism to select magnification of particular fonts,
3542 meaning that you don't have access to continuously scaled fonts.
3546 @c . {Output formats}
3547 @node Output formats
3548 @section Output formats
3550 LilyPond can output processed music in different output formats.
3554 * PostScript output::
3556 * ASCIIScript output::
3560 @subsection TeX output
3563 LilyPond will use @TeX{} by default. Even if you want to produce
3564 PostScript output for viewing or printing, you should normally have
3565 LilyPond produce @TeX{} first. The .tex output must be processed by
3566 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3567 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3568 used to generate the .dvi for you.
3572 Titling is not generated unless you use @file{ly2dvi}.
3575 @node PostScript output
3576 @subsection PostScript output
3577 @cindex PostScript output
3578 @cindex direct PostScript output
3580 LilyPond can produce PostScript directly, without going through @TeX{}.
3581 Currently, this is mainly useful if you cannot use TeX, because direct
3582 PostScript output has some problems; see Bugs below.
3585 $ lilypond -fps foo.ly
3586 GNU LilyPond 1.3.144
3587 Now processing: `foo.ly'
3589 Interpreting music...[3]
3590 Preprocessing elements...
3591 Calculating column positions...
3592 paper output to foo.ps...
3594 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3600 Text font selection is broken.
3602 The .ps file does not contain the .pfa font files. To print a .ps
3603 created through direct postscript output, you should prepend the
3604 necessary .pfa files to LilyPond's .ps output, or upload them to the
3605 printer before printing.
3607 The line height calculation is broken, you must set @var{lineheight} in
3608 the paperblock if you have more than one staff in your score, e.g.
3613 % Set line height to 40 staff spaces
3619 @subsection Scheme output
3620 @cindex Scheme output
3622 In the typesetting stage, LilyPond builds a page description, which is
3623 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3624 written, the page description is represented as Scheme expressions. You
3625 can also dump these Scheme expressions to a file, which may be
3626 convenient for debugging output routines. This is done with the Scheme
3630 $ lilypond -fscm foo.ly
3631 GNU LilyPond 1.3.144
3632 Now processing: `foo.ly'
3634 Interpreting music...[3]
3635 Preprocessing elements...
3636 Calculating column positions...
3637 paper output to foo.scm...
3640 ;;; Usage: guile -s x.scm > x.tex
3641 (primitive-load-path 'standalone.scm)
3645 $ guile -s foo.scm > foo.tex
3649 @node ASCIIScript output
3650 @subsection ASCIIScript output
3651 @cindex ASCIIScript output
3652 @cindex ascii script
3655 LilyPond can output ASCII Art. This is a two step process, LilyPond
3656 produces an ASCII description file, dubbed ASCIIScript (extension
3657 @file{.as}). ASCIIScript has a small and simple command set that
3658 includes font selection, character and string printing and line drawing
3659 commands. The program @file{as2text} is used to translate an .as file
3662 To produce ASCII Art, you must include an ASCII Art paper definition
3663 file in your .ly, one of:
3665 \include "paper-as5.ly"
3666 \include "paper-as9.ly"
3669 Here's an example use for ASCII Art output (the example file
3670 @file{as-email.ly} is included in the LilyPond distribution), the staff
3671 symbol has been made invisible:
3674 $ lilypond -fas as-email.ly
3675 GNU LilyPond 1.3.144
3676 Now processing: `as-email.ly'
3678 Interpreting music...[3]
3679 Preprocessing elements...
3680 Calculating column positions... [2]
3681 paper output to as-email.as...
3683 $ as2text as-email.as 2>/dev/null
3685 |/ |##|##| | | | | |
3686 /| | | | | |\ |\ |\ |\ |\ |
3687 / |_ 3 | | | | 5 | )| )| )| )| )|
3688 | /| \ 8 * * * | 8 * * * * * |
3698 The ASCII Art fonts are far from complete and not very well designed.
3699 It's easy to change the glyphs, though; if you think you can do better,
3700 have a look at @file{mf/*.af}.
3702 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3704 The poor looks of most ASCII Art output and its limited general
3705 usefulness gives ASCII Art output a low priority; it may be
3706 dropped in future versions.
3713 LilyPond can produce MIDI output. The performance lacks lots of
3714 interesting effects, such as swing, articulation, slurring, etc., but it
3715 is good enough for proof-hearing the music you have entered. Ties,
3716 dynamics and tempo changes are interpreted.
3718 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3719 levels. Dynamic marks translate to a fixed fraction of the available
3720 MIDI volume range, crescendi and decrescendi make the the volume vary
3721 linearly between their two extremities. The fractions be adjusted by
3722 overriding the @code{absolute-volume-alist} defined in
3723 @file{scm/midi.scm}.
3725 For each type of musical instrument (that MIDI supports), a volume range
3726 can be defined. This gives you basic equalizer control, which can
3727 enhance the quality of the MIDI output remarkably. You can add
3728 instruments and ranges or change the default settings by overriding the
3729 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3731 Both loudness controls are combined to produce the final MIDI volume.
3736 It is currently not possible to use the percussion channel (generally
3737 channel 10 of a MIDI file).
3741 * MIDI instrument names::
3746 @subsection MIDI block
3750 The MIDI block is analogous to the paper block, but it is somewhat
3751 simpler. The @code{\midi} block can contain:
3755 @item a @code{\tempo} definition
3756 @item context definitions
3759 Assignments in the @code{\midi} block are not allowed.
3763 @cindex context definition
3765 Context definitions follow precisely the same syntax as within the
3766 \paper block. Translation modules for sound are called performers.
3767 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3770 @node MIDI instrument names
3771 @subsection MIDI instrument names
3773 @cindex instrument names
3774 @cindex @code{Staff.midiInstrument}
3775 @cindex @code{Staff.instrument}
3777 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3778 property or, if that property is not set, the @code{Staff.instrument}
3779 property. The instrument name should be chosen from the list in
3780 @ref{MIDI instruments}.
3784 If the selected string does not exactly match, then LilyPond uses the
3785 default (Grand Piano). It is not possible to select an instrument by
3795 @c FIXME: Note entry vs Music entry at top level menu is confusing.
3798 @section Music entry
3806 When entering music with LilyPond, it is easy to introduce errors. This
3807 section deals with tricks and features that help you enter music, and
3808 find and correct mistakes.
3812 @subsection Relative
3814 @cindex relative octave specification
3816 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3817 When you copy existing music, it is easy to accidentally put a pitch in
3818 the wrong octave and hard to find such an error. To prevent these
3819 errors, LilyPond features octave entry.
3821 @cindex @code{\relative}
3823 \relative @var{startpitch} @var{musicexpr}
3826 The octave of notes that appear in @var{musicexpr} are calculated as
3827 follows: If no octave changing marks are used, the basic interval
3828 between this and the last note is always taken to be a fourth or less
3829 (This distance is determined without regarding alterations; a
3830 @code{fisis} following a @code{ceses} will be put above the
3833 The octave changing marks @code{'} and @code{,} can be added to raise or
3834 lower the pitch by an extra octave. Upon entering relative mode, an
3835 absolute starting pitch must be specified that will act as the
3836 predecessor of the first note of @var{musicexpr}.
3838 Entering music that changes octave frequently is easy in relative mode.
3839 @lilypond[fragment,singleline,verbatim,center]
3845 And octave changing marks are used for intervals greater than a fourth.
3846 @lilypond[fragment,verbatim,center]
3848 c g c f, c' a, e'' }
3851 If the preceding item is a chord, the first note of the chord is used
3852 to determine the first note of the next chord. However, other notes
3853 within the second chord are determined by looking at the immediately
3856 @lilypond[fragment,verbatim,center]
3863 @cindex @code{\notes}
3865 The pitch after the @code{\relative} contains a note name. To parse
3866 the pitch as a note name, you have to be in note mode, so there must
3867 be a surrounding @code{\notes} keyword (which is not
3870 The relative conversion will not affect @code{\transpose},
3871 @code{\chords} or @code{\relative} sections in its argument. If you
3872 want to use relative within transposed music, you must place an
3873 additional @code{\relative} inside the @code{\transpose}.
3878 @subsection Bar check
3882 @cindex @code{barCheckNoSynchronize}
3886 Whenever a bar check is encountered during interpretation, a warning
3887 message is issued if it doesn't fall at a measure boundary. This can
3888 help you find errors in the input. Depending on the value of
3889 @code{barCheckNoSynchronize}, the beginning of the measure will be
3890 relocated, so this can also be used to shorten measures.
3892 A bar check is entered using the bar symbol, @code{|}:
3894 \time 3/4 c2 e4 | g2.
3897 @c . {Point and click}
3898 @node Point and click
3899 @subsection Point and click
3901 Point and click lets you find notes in the input by clicking on them in
3902 the Xdvi window. This makes it very easy to find input that causes some
3903 error in the sheet music.
3905 To use it, you need the following software
3907 @unnumberedsubsec Installation
3911 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3912 Xdvi} version 22.36 or newer.
3914 Note that most @TeX{} distributions ship with xdvik, which is a
3915 different and less well maintained program. To find out which xdvi you
3916 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3920 Xdvi must be configured to find the TeX fonts and music
3921 fonts. Refer to the Xdvi documentation for more information.
3924 @unnumberedsubsec Using it
3926 Add one of these lines to the top of your .ly file. The first one is for
3927 line location only. The second one is more convenient, but requires
3928 patching @code{emacsclient} and @code{server.el}.
3931 #(set! point-and-click line-location)
3934 In the emacs startup file (usually @file{~/.emacs}), add the following
3939 Make sure that the environment variable @code{XEDITOR} is set
3942 emacsclient --no-wait +%l %f
3944 The second one, that also specifies the column, only works if you have
3945 patched your emacsclient and server, and have compiled your @code{.ly}
3946 file using the @code{line-column-location} setting.
3948 When viewing, control-mousebutton 1 will take you to the originating
3949 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3953 @unnumberedsubsec Column location
3955 If you want emacs to jump to the exact spot (and not just the line) on a
3956 click, you must enable column positioning. To do so, you need to patch
3957 emacsclient. Apply @file{emacsclient.patch} (included with the source
3958 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3959 source code. Recompile and stick the recompiled emacsclient into a bin
3960 directory, and put @file{server.el} into a elisp directory
3961 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3962 init file, before invoking server-start.
3965 (setq load-path (cons "~/usr/share/emacs" load-path))
3968 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3970 At the top of the @code{ly} file, replace the @code{set!} line with the
3973 #(set! point-and-click line-column-location)
3976 One final hint: if you correct large files with point-and-click, then
3977 start correcting at the end of the file. When you start at the top, and
3978 insert one line, all subsequent locations will be off by a line.
3983 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3984 will complain about not finding @code{src:X:Y} files. Those complaints
3985 are harmless, and can be ignored.
3987 @node Skipping corrected music
3988 @section Skipping corrected music
3990 The property @code{Score.skipTypesetting} can be used to switch on and
3991 off typesetting completely during the interpretation phase. When
3992 typesetting is switched off, the music is processed much more quickly.
3993 You can use this to skip over the parts of a score that you have already
3996 @lilypond[fragment,singleline,verbatim]
3997 \relative c'' { c8 d
3998 \property Score.skipTypesetting = ##t
4000 \property Score.skipTypesetting = ##f
4005 @node Interpretation context
4006 @section Interpretation context
4009 * Creating contexts::
4010 * Default contexts::
4011 * Context properties::
4012 * Engravers and performers::
4013 * Changing context definitions::
4014 * Defining new contexts::
4018 Interpretation contexts are objects that only exist during a run of
4019 LilyPond. During the interpretation phase of LilyPond (when it prints
4020 "interpreting music"), the music expression in a @code{\score} block is
4021 interpreted in time order. This is the same order that humans hear and
4024 During this interpretation, the interpretation context holds the
4025 state for the current point within the music. It contains information
4029 @item What notes are playing at this point?
4030 @item What symbols will be printed at this point?
4031 @item What is the current key signature, time signature, point within
4035 Contexts are grouped hierarchically: A @code{Voice} context is
4036 contained in a @code{Staff} context (because a staff can contain
4037 multiple voices at any point), a @code{Staff} context is contained in
4038 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
4040 Contexts associated with sheet music output are called @emph{notation
4041 contexts}, those for sound output are called @emph{performance
4042 contexts}. The default definitions of the standard notation and
4043 performance contexts can be found in @file{ly/engraver.ly} and
4044 @file{ly/performer.ly}, respectively.
4047 @node Creating contexts
4048 @subsection Creating contexts
4050 @cindex @code{\context}
4051 @cindex context selection
4053 Contexts for a music expression can be selected manually, using the
4054 following music expression.
4057 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4060 This instructs lilypond to interpret @var{musicexpr} within the context
4061 of type @var{contexttype} and with name @var{contextname}. If this
4062 context does not exist, it will be created.
4064 @lilypond[verbatim,singleline]
4066 \notes \relative c'' {
4067 c4 <d4 \context Staff = "another" e4> f
4073 In this example, the @code{c} and @code{d} are printed on the
4074 default staff. For the @code{e}, a context Staff called
4075 @code{another} is specified; since that does not exist, a new
4076 context is created. Within @code{another}, a (default) Voice context
4077 is created for the @code{e4}. When all music referring to a
4078 context is finished, the context is ended as well. So after the
4079 third quarter, @code{another} is removed.
4083 @node Default contexts
4084 @subsection Default contexts
4086 Most music expressions don't need an explicit @code{\context}
4087 declaration: they inherit the
4088 notation context from their parent. Each note is a music expression, and
4089 as you can see in the following example, only the sequential music
4090 enclosing the three notes has an explicit context.
4092 @lilypond[verbatim,singleline]
4093 \score { \notes \context Voice = goUp { c'4 d' e' } }
4096 There are some quirks that you must keep in mind when dealing with
4099 First, every top level music is interpreted by the Score context, in other
4100 words, you may think of @code{\score} working like
4103 \context Score @var{music}
4107 Second, contexts are created automatically to be able to interpret the
4108 music expressions. Consider the following example.
4110 @lilypond[verbatim, singleline]
4111 \score { \context Score \notes { c'4 ( d' )e' } }
4114 The sequential music is interpreted by the Score context initially
4115 (notice that the @code{\context} specification is redundant), but when a
4116 note is encountered, contexts are setup to accept that note. In this
4117 case, a Thread, Voice and Staff are created. The rest of the sequential
4118 music is also interpreted with the same Thread, Voice and Staff context,
4119 putting the notes on the same staff, in the same voice.
4121 This is a convenient mechanism, but do not expect opening chords to work
4122 without @code{\context}. For every note, a separate staff is
4125 @lilypond[verbatim, singleline]
4126 \score { \notes <c'4 es'> }
4129 Of course, if the chord is preceded by a normal note in sequential
4130 music, the chord will be interpreted by the Thread of the preceding
4132 @lilypond[verbatim,singleline]
4133 \score { \notes { c'4 <c'4 es'> } }
4138 @node Context properties
4139 @subsection Context properties
4141 Notation contexts have properties. These properties are from
4142 the @file{.ly} file using the following expression:
4143 @cindex @code{\property}
4145 \property @var{contextname}.@var{propname} = @var{value}
4148 Sets the @var{propname} property of the context @var{contextname} to the
4149 specified Scheme expression @var{value}. All @var{propname} and
4150 @var{contextname} are strings, which are typically unquoted.
4152 Properties that are set in one context are inherited by all of the
4153 contained contexts. This means that a property valid for the
4154 @code{Voice} context can be set in the @code{Score} context (for
4155 example) and thus take effect in all @code{Voice} contexts.
4157 Properties can be unset using the following expression:
4159 \property @var{contextname}.@var{propname} \unset
4162 @cindex properties, unsetting
4163 @cindex @code{\unset}
4165 This removes the definition of @var{propname} in @var{contextname}. If
4166 @var{propname} was not defined in @var{contextname} (but was inherited
4167 from a higher context), then this has no effect.
4172 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4173 the inverse of @code{\property \set}.
4175 @node Engravers and performers
4176 @subsection Engravers and performers
4180 Basic building blocks of translation are called engravers; they are
4181 special C++ classes.
4185 @c . {Context definitions}
4186 @node Changing context definitions
4187 @subsection Changing context definitions
4189 @cindex context definition
4190 @cindex translator definition
4192 The most common way to define a context is by extending an existing
4193 context. You can change an existing context from the paper block, by
4194 first initializing a translator with an existing context identifier:
4198 @var{context-identifier}
4201 Then you can add and remove engravers using the following syntax:
4203 \remove @var{engravername}
4204 \consists @var{engravername}
4208 Here @var{engravername} is a string, the name of an engraver in the
4212 @lilypond[verbatim,singleline]
4216 \translator { \StaffContext
4217 \remove Clef_engraver
4223 You can also set properties in a translator definition. The syntax is as
4226 @var{propname} = @var{value}
4227 @var{propname} \set @var{grob-propname} = @var{pvalue}
4228 @var{propname} \override @var{grob-propname} = @var{pvalue}
4229 @var{propname} \revert @var{grob-propname}
4231 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4232 and @code{pvalue} are Scheme expressions. These type of property
4233 assignments happen before interpretation starts, so a @code{\property}
4234 command will override any predefined settings.
4237 To simplify editing translators, all standard contexts have standard
4238 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4239 @code{VoiceContext}, see @file{ly/engraver.ly}.
4241 @node Defining new contexts
4242 @subsection Defining new contexts
4244 If you want to build a context from scratch, you must also supply the
4245 following extra information:
4247 @item A name, specified by @code{\name @var{contextname}}.
4249 @item A cooperation module. This is specified by @code{\type
4256 \type "Engraver_group_engraver"
4259 \consists "Staff_symbol_engraver"
4260 \consists "Note_head_engraver"
4261 \consistsend "Axis_group_engraver"
4265 The argument of @code{\type} is the name for a special engraver that
4266 handles cooperation between simple engravers such as
4267 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4268 for this engraver are the following:
4270 @cindex @code{Engraver_group_engraver}
4271 @item @code{Engraver_group_engraver}
4272 The standard cooperation engraver.
4274 @cindex @code{Score_engraver}
4276 @item @code{Score_engraver}
4277 This is cooperation module that should be in the top level context,
4278 and only the top level context.
4280 @cindex @code{Grace_engraver_group}
4282 @item @code{Grace_engraver_group}
4283 This is a special cooperation module (resembling
4284 @code{Score_engraver}) that is used to create an embedded
4291 @item @code{\alias} @var{alternate-name}
4292 This specifies a different name. In the above example,
4293 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4295 @item @code{\consistsend} @var{engravername}
4296 Analogous to @code{\consists}, but makes sure that
4297 @var{engravername} is always added to the end of the list of
4300 Some engraver types need to be at the end of the list; this
4301 insures they stay there even if a user adds or removes engravers.
4302 End-users generally don't need this command.
4304 @item @code{\accepts} @var{contextname}
4305 Add @var{contextname} to the list of contexts this context can
4306 contain in the context hierarchy. The first listed context is the
4307 context to create by default.
4309 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4310 completeness, but is never used in practice.
4313 @item @code{\name} @var{contextname}
4314 This sets the type name of the context, e.g. @code{Staff},
4315 @code{Voice}. If the name is not specified, the translator won't do
4319 In the @code{\paper} block, it is also possible to define translator
4320 identifiers. Like other block identifiers, the identifier can only
4321 be used as the very first item of a translator. In order to define
4322 such an identifier outside of @code{\score}, you must do
4327 foo = \translator @{ @dots{} @}
4334 \translator @{ \foo @dots{} @}
4342 @cindex paper types, engravers, and pre-defined translators
4349 @c . {Syntactic details}
4350 @node Syntactic details
4351 @section Syntactic details
4352 @cindex Syntactic details
4354 This section describes details that were too boring to be put elsewhere.
4359 * Music expressions::
4360 * Manipulating music expressions::
4368 @subsection Top level
4371 This section describes what you may enter at top level.
4375 @subsubsection Score
4378 @cindex score definition
4380 The output is generated combining a music expression with an output
4381 definition. A score block has the following syntax:
4384 \score @{ @var{musicexpr} @var{outputdefs} @}
4387 @var{outputdefs} are zero or more output definitions. If none is
4388 supplied, the default @code{\paper} block will be added.
4392 @c . {Default output}
4393 @subsubsection Default output
4395 Default values for the @code{\paper} and @code{\midi} block are set by
4396 entering such a block at the top level.
4399 @subsubsection Header
4401 @cindex @code{\header}
4404 A header describes bibliographic information of the file's contents. It
4405 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4406 use this information for generating titles. Key values that are used by
4407 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4408 meter, arranger, piece and tagline.
4410 @cindex @code{ly2dvi}
4414 \header @{ @var{key1} = @var{val1}
4415 @var{key2} = @var{val2} @dots{} @}
4418 It is customary to put the @code{\header} at the top of the file.
4420 @subsubsection Default output
4422 A @code{\midi} or @code{\paper} block at top level sets the default
4423 paper block for all scores that lack an explicit paper block.
4427 @subsection Identifiers
4431 What has this section got to do with identifiers?
4432 It seems more appropriate in the introduction to Chapter 4,
4438 All of the information in a LilyPond input file, is internally
4439 represented as a Scheme value. In addition to normal Scheme data types
4440 (such as pair, number, boolean, etc.), LilyPond has a number of
4441 specialized data types,
4448 @item Translator_def
4452 @item Music_output_def
4453 @item Moment (rational number)
4456 LilyPond also includes some transient object types. Objects of these
4457 types are built during a LilyPond run, and do not `exist' per se within
4458 your input file. These objects are created as a result of your input
4459 file, so you can include commands in the input to manipulate them,
4460 during a lilypond run.
4463 @item Grob: short for Graphical object. See @ref{Grobs}.
4464 @item Molecule: device-independent page output object,
4465 including dimensions. Produced by some Grob functions
4467 @item Translator: object that produces audio objects or Grobs. This is
4468 not yet user accessible.
4469 @item Font_metric: object representing a font. (See @ref{Font metrics})
4474 @node Music expressions
4475 @subsection Music expressions
4477 @cindex music expressions
4479 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4480 syllables are music expressions, and you can combine music expressions
4481 to form new ones, for example by enclosing a list of expressions in
4482 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4483 compound expression is formed out of the quarter note @code{c} and a
4484 quarter note @code{d}:
4487 \sequential @{ c4 d4 @}
4490 @cindex Sequential music
4491 @cindex @code{\sequential}
4492 @cindex sequential music
4495 @cindex Simultaneous music
4496 @cindex @code{\simultaneous}
4498 The two basic compound music expressions are simultaneous and
4502 \sequential @code{@{} @var{musicexprlist} @code{@}}
4503 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4505 For both, there is a shorthand:
4507 @code{@{} @var{musicexprlist} @code{@}}
4511 @code{<} @var{musicexprlist} @code{>}
4513 for simultaneous music.
4514 In principle, the way in which you nest sequential and simultaneous to
4515 produce music is not relevant. In the following example, three chords
4516 are expressed in two different ways:
4518 @lilypond[fragment,verbatim,center]
4519 \notes \context Voice {
4520 <a c'> <b d' > <c' e'>
4521 < { a b c' } { c' d' e' } >
4526 Other compound music expressions include
4529 \transpose @var{pitch} @var{expr}
4530 \apply @var{func} @var{expr}
4531 \context @var{type} = @var{id} @var{expr}
4532 \times @var{fraction} @var{expr}
4536 @c . {Manipulating music expressions}
4537 @node Manipulating music expressions
4538 @subsection Manipulating music expressions
4540 The @code{\apply} mechanism gives you access to the internal
4541 representation of music. You can write Scheme-functions that operate
4542 directly on it. The syntax is
4544 \apply #@var{func} @var{music}
4546 This means that @var{func} is applied to @var{music}. The function
4547 @var{func} should return a music expression.
4549 This example replaces the text string of a script. It also shows a dump
4550 of the music it processes, which is useful if you want to know more
4551 about how music is stored.
4553 @lilypond[verbatim,singleline]
4554 #(define (testfunc x)
4555 (if (equal? (ly-get-mus-property x 'text) "foo")
4556 (ly-set-mus-property x 'text "bar"))
4558 (ly-set-mus-property x 'elements
4559 (map testfunc (ly-get-mus-property x 'elements)))
4564 \apply #testfunc { c'4_"foo" }
4568 For more information on what is possible, see the automatically
4569 generated documentation.
4572 Directly accessing internal representations is dangerous: the
4573 implementation is subject to changes, so you should avoid this feature
4576 A final example is a function that reverses a piece of music in time:
4578 @lilypond[verbatim,singleline]
4579 #(define (reverse-music music)
4580 (let* ((elements (ly-get-mus-property music 'elements))
4581 (reversed (reverse elements))
4582 (span-dir (ly-get-mus-property music 'span-direction)))
4583 (ly-set-mus-property music 'elements reversed)
4585 (ly-set-mus-property music 'span-direction (- span-dir)))
4586 (map reverse-music reversed)
4589 music = \notes { c'4 d'4( e'4 f'4 }
4591 \score { \context Voice {
4593 \apply #reverse-music \music
4598 More examples are given in the distributed example files in
4601 @c . {Span requests}
4607 @subsubsection Span requests
4608 @cindex Span requests
4610 Notational constructs that start and end on different notes can be
4611 entered using span requests. The syntax is as follows:
4615 \spanrequest @var{startstop} @var{type}
4619 @cindex @code{\start}
4620 @cindex @code{\stop}
4622 This defines a spanning request. The @var{startstop} parameter is either
4623 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4624 describes what should be started. Much of the syntactic sugar is a
4625 shorthand for @code{\spanrequest}, for example,
4627 @lilypond[fragment,verbatim,center]
4628 c'4-\spanrequest \start "slur"
4629 c'4-\spanrequest \stop "slur"
4632 Among the supported types are @code{crescendo}, @code{decrescendo},
4633 @code{beam}, @code{slur}. This is an internal command. Users are
4634 encouraged to use the shorthands which are defined in the initialization
4635 file @file{spanners.ly}.
4640 @subsection Assignments
4643 Identifiers allow objects to be assigned to names during the parse
4644 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4645 and to refer to an identifier, you precede its name with a backslash:
4646 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4647 the input-types listed above. Identifier assignments can appear at top
4648 level in the LilyPond file, but also in @code{\paper} blocks.
4650 An identifier can be created with any string for its name, but you will
4651 only be able to refer to identifiers whose names begin with a letter,
4652 being entirely alphabetical. It is impossible to refer to an identifier
4653 whose name is the same as the name of a keyword.
4655 The right hand side of an identifier assignment is parsed completely
4656 before the assignment is done, so it is allowed to redefine an
4657 identifier in terms of its old value, e.g.
4663 When an identifier is referenced, the information it points to is
4664 copied. For this reason, an identifier reference must always be the
4665 first item in a block.
4669 \paperIdent % wrong and invalid
4673 \paperIdent % correct
4678 @c . {Lexical modes}
4680 @subsection Lexical modes
4681 @cindex Lexical modes
4684 @cindex @code{\notes}
4685 @cindex @code{\chords}
4686 @cindex @code{\lyrics}
4688 To simplify entering notes, lyrics, and chords, LilyPond has three
4689 special input modes in addition to the default mode: note, lyrics and
4690 chords mode. These input modes change the way that normal, unquoted
4691 words are interpreted: for example, the word @code{cis} may be
4692 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4693 major triad respectively.
4695 A mode switch is entered as a compound music expression
4697 @code{\notes} @var{musicexpr}
4698 @code{\chords} @var{musicexpr}
4699 @code{\lyrics} @var{musicexpr}.
4702 In each of these cases, these expressions do not add anything to the
4703 meaning of their arguments. They just instruct the parser in what mode
4704 to parse their arguments. The modes are treated in more detail in
4705 @ref{Lyrics} and @ref{Chords}.
4707 Different input modes may be nested.
4711 @subsection Ambiguities
4716 The grammar contains a number of ambiguities. We hope to resolve them at
4720 @item The assignment
4725 is interpreted as the string identifier assignment. However,
4726 it can also be interpreted as making a string identifier @code{\foo}
4727 containing @code{"bar"}, or a music identifier @code{\foo}
4728 containing the syllable `bar'.
4730 @item If you do a nested repeat like
4742 then it is ambiguous to which @code{\repeat} the
4743 @code{\alternative} belongs. This is the classic if-then-else
4744 dilemma. It may be solved by using braces.
4746 @item The parser is not sophisticated enough to distinguish at the
4748 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4755 @c . {Lexical details}
4756 @node Lexical details
4757 @section Lexical details
4759 Even more boring details, now on lexical side of the input parser.
4770 * Version information::
4775 @subsection Comments
4778 @cindex block comment
4779 @cindex line comment
4783 A one line comment is introduced by a @code{%} character.
4784 Block comments are started by @code{%@{} and ended by @code{%@}}.
4785 They cannot be nested.
4788 @subsection Direct Scheme
4792 @cindex Scheme, in-line code
4795 LilyPond contains a Scheme interpreter (the GUILE library) for
4796 internal use. In some places, Scheme expressions also form valid syntax:
4797 wherever it is allowed,
4801 evaluates the specified Scheme code. Example:
4803 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4805 @code{\override} expects two Scheme expressions, so there are two Scheme
4806 expressions. The first one is a symbol (@code{foobar}), the second one
4807 an integer (namely, 3).
4809 In-line scheme may be used at the top level. In this case the result is
4812 Scheme is a full-blown programming language, and a full discussion is
4813 outside the scope of this document. Interested readers are referred to
4814 the website @uref{http://www.schemers.org/} for more information on
4819 @subsection Keywords
4823 Keywords start with a backslash, followed by a number of lower case
4824 alphabetic characters. These are all the keywords.
4827 apply arpeggio autochange spanrequest commandspanrequest
4828 simultaneous sequential accepts alternative bar breathe
4829 char chordmodifiers chords clef cm consists consistsend
4830 context denies duration dynamicscript elementdescriptions
4831 font grace header in lyrics key mark pitch
4832 time times midi mm name pitchnames notes outputproperty
4833 override set revert partial paper penalty property pt
4834 relative remove repeat addlyrics partcombine score
4835 script stylesheet skip textscript tempo translator
4840 @subsection Integers
4848 Formed from an optional minus sign followed by digits. Arithmetic
4849 operations cannot be done with integers, and integers cannot be mixed
4854 @cindex real numbers
4860 Formed from an optional minus sign and a sequence of digits followed
4861 by a @emph{required} decimal point and an optional exponent such as
4862 @code{-1.2e3}. Reals can be built up using the usual operations:
4863 `@code{+}', `@code{-}', `@code{*}', and
4864 `@code{/}', with parentheses for grouping.
4872 A real constant can be followed by one of the dimension keywords:
4873 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4874 points, inches and centimeters, respectively. This converts the number
4875 a number that is the internal representation of that dimension.
4883 Begins and ends with the @code{"} character. To include a @code{"}
4884 character in a string write @code{\"}. Various other backslash
4885 sequences have special interpretations as in the C language. A string
4886 that contains no spaces can be written without the quotes. Strings can
4887 be concatenated with the @code{+} operator.
4891 @subsection Main input
4894 @cindex @code{\maininput}
4896 The @code{\maininput} command is used in init files to signal that the
4897 user file must be read. This command cannot be used in a user file.
4899 @node File inclusion
4900 @subsection File inclusion
4901 @cindex @code{\include}
4903 \include @var{filename}
4906 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4907 unquoted string will not work here!) or a string identifier. The full
4908 filename including the @file{.ly} extension must be given,
4911 @node Version information
4912 @subsection Version information
4913 @cindex @code{\version}
4915 \version @var{string}
4918 Specify the version of LilyPond that a file was written for. The
4919 argument is a version string in quotes, for example @code{"1.2.0"}.
4920 This is used to detect invalid input, and to aid
4921 @code{convert-ly} a tool that automatically upgrades input files. See
4922 See @ref{convert-ly} for more information on @code{convert-ly}.
4931 @c .{Local emacs vars}
4934 @c minor-mode: font-lock
4935 @c minor-mode: outline
4936 @c outline-layout: (-1 : 0)
4937 @c outline-use-mode-specific-leader: "@c \."
4938 @c outline-primary-bullet: "{"
4939 @c outline-stylish-prefixes: nil
4940 @c outline-override-protect: t