4 @chapter Reference Manual
8 * Top level:: Top level
9 * Pitch names:: Pitch names
10 * Lexical conventions:: Lexical conventions
11 * Other languages:: Note names in various languages
12 * Lexical modes:: modes
14 * Assignments:: Assignments
15 * Music expressions:: Music expressions
16 * Atomic music expressions:: Atomic music expressions
17 * Note specification:: notedesc
19 * Manual beams:: Manual beam
20 * stem tremolo:: tremolo
21 * Compound music expressions:: Compound music expressions
24 * transpose:: transpose
25 * Ambiguities:: Ambiguities
26 * Notation conversion specifics:: Notation conversion specifics
27 * Automatic Beaming:: Automatic Beaming
28 * Chord Names:: Chord Names
29 * lyricprint:: lyricprint
30 * Notation Contexts:: Notation Contexts
31 * Properties:: Changing formatting
32 * Page layout:: Layout
33 * contextdefs:: contextdefs
34 * Sound output:: Sound output
36 * Pre-defined Identifiers:: Pre-defined Identifiers
37 * Point and click:: Quik edit using Point and Click
38 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
39 * Engravers:(lilypond-internals)LilyPond engravers.
40 * Backend:(lilypond-internals)LilyPond backend.
52 describes the the GNU LilyPond input format This format represents a
53 piece of music in an elegant way, but contains enough information for
54 both automatic typesetting and automatic performances.
56 This document has been revised for LilyPond 1.3.125
60 There are two things to note here. The format contains musical
61 concepts like pitches and durations, instead of symbols and positions:
62 the input format tries to capture the meaning of @emph{music}, and not
63 notation. Second, the format tries to be @emph{context-free}:
64 a note will sound the same regardless of the current time signature,
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 esthetic decisions. All
70 symbols and their placement is @emph{generated} from a high-level musical
71 description. In other words, LilyPond would be best
72 described by `music compiler' or `music to notation compiler'.
76 LilyPond input can be classified into three types:
78 @item musical expressions: a musical expression is some combination of
80 @item output definitions: recipes for translating those musical
81 expressions into performances (MIDI) or graphics (eg. PostScript).
83 @item declarations: by declaring and naming musical expressions, you
84 can enter and edit them in manageable chunks.
90 This section describes what you may enter at top level.
93 @unnumberedsubsec Score definition
94 @cindex score definition
96 The output is generated combining a music expression with an output
97 definition. A score block has the following syntax:
100 \score @{ @var{musicexpr} @var{outputdefs} @}
103 @var{outputdefs} are zero or more output definitions. If no output
104 definition is supplied, the default @code{\paper} block will be added.
106 @unnumberedsubsec Header definition
109 @cindex @code{\header}
114 \header @{ @var{key1} = @var{val1};
115 @cindex @code{ly2dvi}
116 @var{key2} = @var{val2}; @dots{} @}
120 A header describes the file's contents. It can also appear in a
121 @code{\score} block. Tools like @code{ly2dvi} can use this
122 information for generating titles. Key values that are used by
123 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
124 metre, arranger, piece and tagline.
126 It is customary to put the @code{\header} at the top of the file.
128 @unnumberedsubsec Default output
130 A @code{\midi} or @code{\paper} block at top-level sets the default
131 paper block for all scores that lack an explicit paper block.
133 @unnumberedsubsec Scheme statements
135 Scheme statements maybe issued to produce interesting side-effects.
142 @unnumberedsubsec Pitch name definition
146 @cindex chord modifier names
148 Note names and chord modifiers can be customised for nationalities.
149 languages and conventions. The syntax is as follows.
150 @cindex @code{\pitchnames}
151 @cindex @code{\chordmodifiers}
154 \pitchnames @var{scheme-alist}
155 \chordmodifiers @var{scheme-alist}
158 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
159 specific examples how to do this. tables can be tailored specified
160 using. Some national note names have been provided, see
161 section @ref{Other languages}.
162 A @code{\paper} block at top level sets the default paper block. A
163 @code{\midi} block at top level works similarly.
165 @unnumberedsubsec Assignments
169 Identifier assignments may appear at top level. @ref{Assignments}
172 @node Lexical conventions
173 @section Lexical conventions
175 @cindex lexical conventions
178 @unnumberedsubsec Comments
184 A one line comment is introduced by a @code{%} character.
185 Block comments are started by @code{%@{} and ended by `@code{%@}}'.
186 They cannot be nested.
188 @unnumberedsubsec Scheme
195 @cindex Scheme, in-line code
198 LilyPond contains a Scheme interpreter (the GUILE library) for
199 internal use. In some places Scheme expressions also form valid syntax:
200 whereever it is allowed,
204 evaluates the specified Scheme code. If this is used at toplevel, then
205 the result is discarded. Example:
207 \property Staff.TestObject \override #'foobar = #(+ 1 2)
210 @code{\override} expects two Scheme expressions, so there are two Scheme
211 expressions. The first one is a symbol (@code{foobar}), the second one
212 an integer (namely, 3).
214 Scheme is a full-blown programming language, and a full discussion is
215 outside the scope of this document. Interested readers are referred to
216 the website @uref{http://www.schemers.org/} for more information on
219 @unnumberedsubsec Keywords
223 Keywords start with a backslash, followed by a number of lower case
224 alphabetic characters. These are all the keywords.
227 apply arpeggio autochange spanrequest commandspanrequest
228 simultaneous sequential accepts alternative bar breathe
229 char chordmodifiers chords clef cm consists consistsend
230 context denies duration dynamicscript elementdescriptions
231 font grace header in lyrics key mark pitch
232 time times midi mm name pitchnames notes outputproperty
233 override set revert partial paper penalty property pt
234 relative remove repeat addlyrics partcombine score
235 script stylesheet skip textscript tempo translator
239 @unnumberedsubsec Integers
247 Formed from an optional minus sign followed by digits. Arithmetic
248 operations cannot be done with integers, and integers cannot be mixed
251 @unnumberedsubsec Reals
258 Formed from an optional minus sign and a sequence of digits followed
259 by a @emph{required} decimal point and an optional exponent such as
260 @code{-1.2e3}. Reals can be built up using the usual operations:
261 `@code{+}', `@code{-}', `@code{*}', and
262 `@code{/}', with parentheses for grouping.
270 A real constant can be followed by one of the dimension keywords:
271 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
272 points, inches and centimeters, respectively. This converts the number
273 to a real that is the internal representation of dimensions.
276 @unnumberedsubsec Strings
280 Begins and ends with the @code{"} character. To include a @code{"}
281 character in a string write @code{\"}. Various other backslash
282 sequences have special interpretations as in the C language. A string
283 that contains no spaces can be written without the quotes. See
284 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
285 depending on the situation. Strings can be concatenated with the
288 The tokenizer accepts the following commands. They have no grammatical
289 function, hence they can appear anywhere in the input.
291 @unnumberedsubsec Main input
293 @cindex @code{\maininput}
295 The @code{\maininput} command is used in init files to signal that the
296 user file must be read. This command cannot be used in a user file.
298 @unnumberedsubsec File inclusion
299 @cindex @code{\include}
301 \include @var{filename}
304 Include @var{filename}. The argument @var{filename} may be a quoted string (an
305 unquoted string will not work here!) or a string identifier. The full
306 filename including the @file{.ly} extension must be given,
308 @unnumberedsubsec Version information
309 @cindex @code{\version}
311 \version @var{string} ;
314 Specify the version of LilyPond that a file was written for. The
315 argument is a version string in quotes, for example @code{"1.2.0"}.
316 This is used to detect invalid input, and to aid
317 @code{convert-ly} a tool that automatically upgrades input files. See
318 See @ref{convert-ly} for more information on @code{convert-ly}.
324 @section Lexical modes
325 @cindex Lexical modes
329 To simplify entering notes, lyrics, and chords, LilyPond has three
330 special input modes on top of the default mode. In each mode, words
331 are identified on the input. If @code{"word"} is encountered, it is
332 treated as a string. If @code{\word} is encountered, it is treated as
333 a keyword or as an identifier. The behavior of the modes differs in
334 two ways: Different modes treat unquoted words differently, and
335 different modes have different rules for deciding what is a word.
341 At the start of parsing, LilyPond is in Normal mode. In Normal
342 mode, a word is an alphabetic character followed by alphanumeric
343 characters. If @code{word} is encountered on the input it is
349 @cindex @code{\notes}
350 Note mode is introduced by the keyword
351 @code{\notes}. In Note mode, words can only
352 contain alphabetic characters. If @code{word} is encountered,
353 LilyPond first checks for a notename of @code{word}. If no
354 notename is found, then @code{word} is treated as a string.
356 Since combinations of numbers and dots are used for indicating
357 durations, it is not possible to enter real numbers in this mode.
362 Chord mode is introduced by the keyword
363 @code{\chords}. It is similar to Note mode, but
364 words are also looked up in a chord modifier table (containing
365 @code{maj}, @code{dim}, etc).
367 Since combinations of numbers and dots are used for indicating
368 durations, you can not enter real numbers in this mode. Dashes
369 and carets are used to indicate chord additions and subtractions,
370 so scripts can not be entered in Chord mode.
374 @cindex @code{\lyrics}
376 Lyrics mode is introduced by the keyword @code{\lyrics}. This mode has
377 rules that make it easy to include punctuation and diacritical marks in
378 words: The purpose of Lyrics mode is that you can enter lyrics in @TeX{}
379 format or a standard encoding without needing quotes. The precise
380 definition of this mode is ludicrous, and this will remain so until the
381 authors of LilyPond acquire a deeper understanding of character
382 encoding, or someone else steps up to fix this.
384 A word in Lyrics mode begins with: an alphabetic character, @code{_},
385 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
386 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
387 any 8-bit character with ASCII code over 127, or a two-character
388 combination of a backslash followed by one of @code{`}, @code{'},
389 @code{"}, or @code{^}.
391 Subsequent characters of a word can be any character that is not a digit
392 and not white space. One important consequence of this is that a word
393 can end with `@code{@}}', which may be confusing. However, LilyPond will
394 issue a warning. Any @code{_} character which appears in an unquoted
395 word is converted to a space. This provides a mechanism for introducing
396 spaces into words without using quotes. Quoted words can also be used
397 in Lyrics mode to specify words that cannot be written with the above
398 rules. Here are some examples. Not all of these words are printable by
403 2B_||_!2B % not a word because it starts with a digit
404 ``Hello'' % not a word because it starts with `
405 _ _ _ _ % 4 words, each one a space
408 Since combinations of numbers and dots are used for indicating
409 durations, you can not enter real numbers in this mode.
412 [todo: include short table showing differences]
419 All of the information in a LilyPond input file, is represented as a
420 Scheme value. In addition to normal Scheme data types (such as pair,
421 number, boolean, etc.), LilyPond has a number of specialized data types,
426 @item Music: see @ref{Music expressions}
428 @item Translator_def:
429 See section @ref{contextdefs} for more information
433 @item Music_output_def
434 @item Moment (rational number)
437 LilyPond also includes some transient object types. Objects of these
438 types are built during a LilyPond run, and do not `exist' per se within
439 your input file. These objects are created as a result of your input
440 file, so you can include commands in the input to manipulate them,
441 during a lilypond run.
444 @item Grob: short for Graphical object. See @ref{Grobs}.
445 @item Molecule: device-independent page output object,
446 including dimensions. Produced by some Grob functions
448 @item Translator: object that produces audio objects or Grobs. This is
449 not yet user accessible.
450 @item Font_metric: object representing a font. (See @ref{Font metrics})
451 @c @item Audio_element: (todo, smobme)
455 @unnumberedsubsec Assignments
457 Identifiers allow objects to be assigned to names during the parse
458 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
459 and to refer to an identifier, you preceed its name with a backslash:
460 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
461 the input-types listed above. Identifier assignments can appear at top
462 level in the LilyPond file, but also in @code{\paper} blocks.
464 Semicolons are forbidden after top level assignments, but mandatory in
465 other places. The rules about semicolons and assignments are very
466 confusing, but when LilyPond input evolves more towards Scheme, we hope
467 that this problem will grow smaller.
469 An identifier can be created with any string for its name, but you will
470 only be able to refer to identifiers whose names begin with a letter,
471 being entirely alphanumeric. It is impossible to refer to an identifier
472 whose name is the same as the name of a keyword.
474 The right hand side of an identifier assignment is parsed completely
475 before the assignment is done, so it is allowed to redefine an
476 identifier in terms of its old value, e.g.
482 When an identifier is referenced, the information it points to is
483 copied. For this reason, an identifier reference must always be the
484 first item in a block.
488 \paperIdent % wrong and invalid
492 \paperIdent % correct
498 @node Music expressions
499 @section Music expressions
501 @cindex music expressions
503 Music in LilyPond is entered as a music expression. Notes, rests,
504 lyric syllables are music expressions (the atomic
506 @cindex atomic music expressions
507 and you can combine music expressions to form new ones. This example
508 forms a compound expressions out of the quarter @code{c} note and a
512 \sequential @{ c4 d4 @}
515 The meaning of this compound expression is to play the @code{c}
516 first, and then the @code{d} (as opposed to playing them
517 simultaneously, for instance).
519 Atomic music expression are discussed in
520 subsection @ref{Atomic music expressions}. Compound music expressions are
521 discussed in subsection @ref{Compound music expressions}.
525 @node Atomic music expressions
526 @section Atomic music expressions
533 The syntax for pitch specification is
535 @cindex @code{\pitch}
537 \pitch @var{scmpitch}
540 @var{scmpitch} is a pitch scheme object, see @ref{Pitch}.
542 In Note and Chord mode, pitches may be designated by names. See
543 section @ref{Other languages} for pitch names in different languages.
546 @cindex @code{\duration}
548 The syntax for duration specification is
550 \duration @var{scmduration}
553 In Note, Chord, and Lyrics mode, durations may be designated by
557 @node Note specification
558 @section Note specification
559 @cindex Note specification
563 @cindex entering notes
565 A note specification has the form
568 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
571 The pitch of the note is specified by the note's name.
574 The default names are the Dutch note names. The notes are specified
575 by the letters @code{c} through @code{b}, where @code{c} is an
576 octave below middle C and the letters span the octave above that C.
578 @cindex note names, Dutch
579 a sharp is formed by adding @code{-is} to the end of a pitch name. A
580 flat is formed by adding @code{-es}. Double sharps and double flats are
581 obtained by adding @code{-isis} or @code{-eses}. @code{aes} and
582 @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both
583 forms will be accepted.
585 LilyPond has predefined sets of notenames for various other languages.
586 To use them, simply include the language specific init file. For
587 example: @code{\include "english.ly"}. The available language files and
588 the names they define are:
591 Note Names sharp flat
592 nederlands.ly c d e f g a bes b -is -es
593 english.ly c d e f g a bf b -s/-sharp -f/-flat
594 deutsch.ly c d e f g a b h -is -es
595 norsk.ly c d e f g a b h -iss/-is -ess/-es
596 svenska.ly c d e f g a b h -iss -ess
597 italiano.ly do re mi fa sol la sib si -d -b
598 catalan.ly do re mi fa sol la sib si -d/-s -b
603 Pitch names can be redefined using the @code{\pitchnames} command, see
609 The optional octave specification takes the form of a series of
610 single quote (`@code{'}') characters or a series of comma
611 (`@code{,}') characters. Each @code{'} raises the pitch by one
612 octave; each @code{,} lowers the pitch by an octave.
614 @lilypond[fragment,verbatim,center]
615 c' d' e' f' g' a' b' c''
618 @lilypond[fragment,verbatim,center]
619 cis' dis' eis' fis' gis' ais' bis'
622 @lilypond[fragment,verbatim,center]
623 ces' des' es' fes' ges' as' bes'
626 @lilypond[fragment,verbatim,center]
627 cisis' eisis' gisis' aisis' beses'
630 @lilypond[fragment,verbatim,center]
631 ceses' eses' geses' ases' beses'
634 LilyPond will determine what accidentals to typeset depending on the key
635 and context, so alteration refer to what note is heard, not to whether
636 accidentals are printed. A reminder accidental
637 @cindex reminder accidental
639 can be forced by adding an exclamation mark @code{!} after the pitch.
640 A cautionary accidental,
641 @cindex cautionary accidental
643 i.e., an accidental within parentheses can be obtained by adding the
644 question mark `@code{?}' after the pitch.
646 @lilypond[fragment,verbatim,center]
647 cis' d' e' cis' c'? d' e' c'!
653 Durations are entered as their reciprocal values. For notes longer
654 than a whole note, use identifiers.
660 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
662 r1 r2 r4 r8 r16 r32 r64 r64
668 \notes \relative c'' {
669 a\longa a\breve \autoBeamOff
670 a1 a2 a4 a8 a16 a32 a64 a64
672 r1 r2 r4 r8 r16 r32 r64 r64
677 \remove "Clef_engraver";
678 \remove "Staff_symbol_engraver";
679 \remove "Time_signature_engraver";
680 \consists "Pitch_squash_engraver";
687 As you can see, the longa is not printed. To get a longa note head, you
688 have to use a different style of note heads. See [TODO].
693 If the duration is omitted then it is set equal to the previous duration
694 entered. At the start of parsing there is no previous duration, so then
695 a quarter note is assumed. The duration can be followed by a dot
696 (`@code{.}') to obtain dotted note lengths.
698 Rests are entered like notes, with note name `@code{r}'.
699 There is also a note name
700 `@code{s}', which produces a space of the specified
704 @lilypond[fragment,verbatim,center]
710 You can alter the length of duration by writing `@code{*}@var{fraction}'
711 after it. This will not affect the appearance of note heads or rests.
713 @unnumberedsubsec Multi measure rests
717 Multi_measure_rest are entered using `@code{R}'. It is specifically
718 meant for entering parts: the rest can expand to fill a score with
719 rests, or it can be printed as a single multimeasure rest This expansion
720 is controlled by the property @code{Score.skipBars}. If this is set to true,
721 Lily will not expand empty measures, and the multimeasure rests
722 automatically adds the appropriate number.
725 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
728 Note that there is currently no way to condense multiple rests into a
729 single multimeasure rest.
732 @unnumberedsubsec Lyrics
733 @cindex lyrics expressions
735 Syllables are entered like notes, with pitches replaced by text. For
736 example, @code{Twin-4 kle4 twin-4 kle4} enters four syllables, each
737 with quarter note duration. Note that the hyphen has no special
738 meaning for lyrics, and does not introduce special symbols. See
739 section @ref{Lexical modes} for a description of what is interpreted as
742 Spaces can be introduced into a lyric either by using quotes
743 (@code{"}) or by using an underscore without quotes: @code{He_could4
744 not4}. All unquoted underscores are converted to spaces. Printing
745 lyrics is discussed in section @ref{lyricprint}.
747 [explain automatic phrasing]
750 @unnumberedsubsec Translation property
752 @cindex @code{\property}
754 \property @var{contextname}.@var{propname} = @var{value}
757 Sets the @var{propname} property of the context @var{contextname} to
758 the specified @var{value}. All three arguments are strings.
759 Depending on the context, it may be necessary to quote the strings or
760 to leave space on both sides of the dot.
762 @cindex translator switches
763 @unnumberedsubsec Translator switches
765 @cindex @code{\translator}
767 \translator @var{contexttype} = @var{name}
770 A music expression indicating that the context which is a direct
771 child of the a context of type @var{contexttype} should be shifted to
772 a context of type @var{contexttype} and the specified name.
774 Usually this is used to switch staffs in Piano music, e.g.
777 \translator Staff = top @var{Music}
781 @cindex output properties
782 @unnumberedsubsec Output properties
784 These allow you to tweak what is happening in the back-end
785 directly. If you want to control every detail of the output
786 formatting, this is the feature to use. The downside to this is that
787 you need to know exactly how the backend works. Example:
790 @lilypond[fragment,verbatim]
792 \context Staff \outputproperty
793 #(make-type-checker 'note-head-interface)
794 #'extra-offset = #'(5.0 . 7.5)
798 This selects all note heads occurring at current staff level, and sets
799 the @code{extra-offset} of those heads to @code{(5,7.5)}, shifting them
802 Use of this feature is entirely on your own risk: if you use this, the
803 result will depend very heavily on the implementation of the backend,
804 which we change regularly and unscrupulously.
806 @unnumberedsubsec Key signature
810 @code{\key} @var{pitch} @var{type} @code{;}
812 @cindex @code{\minor}
813 @cindex @code{\major}
814 @cindex @code{\minor}
815 @cindex @code{\ionian}
816 @cindex @code{\locrian}
817 @cindex @code{\aeolian}
818 @cindex @code{\mixolydian}
819 @cindex @code{\lydian}
820 @cindex @code{\phrygian}
821 @cindex @code{\dorian}
823 Change the key signature. @var{type} should be @code{\major} or
824 @code{\minor} to get @var{pitch}-major or @var{pitch}-minor,
825 respectively. The second argument is optional; the default is major
826 keys. The @var{\context} argument can also be given as an integer,
827 which tells the number of semitones that should be added to the pitch
828 given in the subsequent @code{\key} commands to get the corresponding
829 major key, e.g., @code{\minor} is defined as 3. The standard mode names
830 @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian},
831 @code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined.
833 @unnumberedsubsec Rehearsal marks
834 @cindex rehearsal marks
838 \mark @var{unsigned};
839 @cindex @code{Mark_engraver}
843 Prints a mark over or under the staff.
845 @unnumberedsubsec barlines
848 @cindex measure lines
855 This is a short-cut for doing
857 \property Score.whichBar = @var{bartype}
860 You are encouraged to use @code{\repeat} for repetitions. See
861 @ref{Repeats}, and the documentation of @code{whichBar} in
862 @ref{(lilypond-internals)LilyPond context properties}.
866 @unnumberedsubsec Time signature
868 @cindex time signature
871 \time @var{numerator}@code{/}@var{denominator} @code{;}
874 A short-cut for doing
876 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
879 See the documentation of @code{timeSignatureFraction}
881 @unnumberedsubsec Tempo
882 @cindex beats per minute
883 @cindex metronome marking
884 @cindex @code{\tempo}
886 \tempo @var{duration} = @var{perminute} @code{;}
889 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
890 output with 76 quarter notes per minute.
892 @unnumberedsubsec Partial measures
895 @cindex partial measure
896 @cindex measure, partial
897 @cindex shorten measures
898 @cindex @code{\partial}
900 \partial @var{duration} @code{;}
906 \property Score.measurePosition = @var{length of duration}
910 See the documentation of @code{measurePosition}.
912 @unnumberedsubsec Bar check
915 @cindex @code{barCheckNoSynchronize}
919 Bar checks help you find errors in the input: Whenever one is
920 encountered during interpretation, a warning message is issued if it
921 doesn't fall at a measure boundary. Depending on the value of
922 @code{barCheckNoSynchronize}, the beginning of the measure will be
923 relocated, so this can also be used to shorten measures.
925 A bar check is entered using the bar symbol, @code{|}
927 This can help you finding errors in the input.
929 @unnumberedsubsec Line break penalty.
930 @cindex @code{\penalty}
933 \penalty @var{int} @code{;}
936 Discourage or encourage line breaks. See @ref{Page layout}.
938 @unnumberedsubsec Clef change
941 \clef @var{clefname} @code{;}
947 \property Clef.clefGlyph = @var{symbol associated with clefname}
948 \property Clef.clefPosition = @var{clef Y-position for clefname}
949 \property Clef.clefOctavation = @var{extra pitch of clefname}
952 Supported clef-names include
956 @unnumberedsubsec Skip
958 \skip @var{duration} @code{;}
962 Skips the amount of time specified by @var{duration}. If no other
963 music is played, a gap will be left for the skipped time with no
964 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
965 this has the same effect as the spacer rest.
969 @unnumberedsubsec Manual beams
971 @cindex beams, manual
975 A beam is specified by surrounding the beamed notes with brackets
976 `@code{[}' and `@code{]}'.
978 @lilypond[fragment,verbatim,center]
979 [a'8 a'] [a'16 a' a' a']
980 [a'16 <a' c''> c'' <a' c''>]
981 \times 2/3 { [e'8 f' g'] }
984 Beaming can be generated automatically; see section @ref{Automatic Beaming}.
986 @cindex @code{-}@code{-}
988 @unnumberedsubsec Lyric extender
990 @cindex lyric extender
993 The syntax for an extender mark is @code{__}. This syntax can only
994 be used within lyrics mode.
996 @unnumberedsubsec Lyric hyphens
998 The syntax for a spanning hyphen (i.e., a hyphen that will be printed
999 between two lyric syllables) is `@code{-}@code{-}'.
1002 @unnumberedsubsec Ties
1006 A tie connects two adjacent note heads of the same pitch. When used
1007 with chords, it connects all of the note heads whose pitches match.
1008 Ties are indicated using the tilde symbol `@code{~}'.
1009 If you try to tie together chords which have no common pitches, a
1010 warning message will appear and no ties will be created.
1012 @lilypond[fragment,verbatim,center]
1013 e' ~ e' <c' e' g'> ~ <c' e' g'>
1018 @unnumberedsubsec Articulation
1019 @cindex articulations
1023 A variety of symbols can appear above and below notes to indicate
1024 different characteristics of the performance. These symbols can be
1025 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1026 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1027 forced to appear above or below the note by writing
1028 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1029 respectively. Here is a chart showing symbols above notes, with the
1030 name of the corresponding symbol appearing underneath.
1036 \property Score.LyricSyllable \override #'font-family =
1038 \property Score.LyricSyllable \override #'font-shape = #'upright
1039 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1040 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1041 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1042 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1043 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1044 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1045 c''-\thumb c''-\segno c''-\coda
1047 \context Lyrics \lyrics {
1048 accent__ marcato__ staccatissimo__ fermata
1049 stopped__ staccato__ tenuto__ upbow
1050 downbow__ lheel__ rheel__ ltoe
1051 rtoe__ turn__ open__ flageolet
1052 reverseturn__ trill__ prall__ mordent
1053 prallprall__ prallmordent__ uprall__ downprall
1054 thumb__ segno__ coda
1058 linewidth = 5.875\in;
1065 @unnumberedsubsec Text scripts
1067 In addition, it is possible to place arbitrary strings of text or
1068 @TeX{} above or below notes by using a string instead of an
1069 identifier: @code{c^"text"}. Fingerings
1070 can be placed by simply using digits. All of these note ornaments
1071 appear in the printed output but have no effect on the MIDI rendering of
1076 To save typing, fingering instructions (digits 0 to 9 are
1077 supported) and single characters shorthands exist for a few
1082 \notes \context Voice {
1083 \property Voice.TextScript \set #'font-family = #'typewriter
1084 \property Voice.TextScript \set #'font-shape = #'upright
1090 c''4-^_"c-\\^{ }" s4
1097 linewidth = 5.875 \in;
1105 @cindex @code{\textscript}
1109 \textscript @var{text} @var{style}
1112 Defines a text to be printed over or under a note. @var{style} is a
1113 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1114 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1116 You can attach a general textscript request using this syntax:
1121 c4-\textscript "6" "finger"
1122 c4-\textscript "foo" "normal"
1127 This is equivalent to @code{c4-6 c4-"foo"}.
1129 @cindex @code{\script}
1136 @cindex @code{\script}
1138 Prints a symbol above or below a note. The argument is a string which
1139 points into the script-alias table defined in @file{scm/script.scm}, for
1140 information on how to add scripts, read the comments in that file.
1141 Usually the @code{\script} keyword is not used directly. Various
1142 helpful identifier definitions appear in @file{script.ly}.
1146 @unnumberedsubsec Dynamics
1156 @cindex @code{\ffff}
1167 @cindex @code{\decr}
1168 @cindex @code{\rced}
1173 Dynamic marks are specified by using an identifier after a note:
1174 @code{c4-\ff} (the dash is optional for dynamics: `@code{c4 \ff})'.
1175 The available dynamic marks are:
1177 @code{\pp}, @code{\p}, @code{\mp},
1178 @code{\mf}, @code{\f}, @code{\ff},
1179 @code{\fff}, @code{\fff},
1180 @code{\fp}, @code{\sf},
1181 @code{\sff}, @code{\sp},
1182 @code{\spp}, @code{\sfz}, and
1186 A crescendo mark is started with @code{\cr} and terminated with
1187 @code{\rc}, the textual reverse of @code{cr}. A decrescendo mark is
1188 started with @code{\decr} and terminated with @code{\rced}. There are
1189 also shorthands for these marks. A crescendo can be started with
1190 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1191 can be terminated with @code{\!}. Note that @code{\!} must go before
1192 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1193 after the last note. Because these marks are bound to notes, if you
1194 want to get several marks during one note, you must use spacer notes.
1196 @lilypond[fragment,verbatim,center]
1197 c'' \< \! c'' d'' \decr e'' \rced
1198 < f''1 { s4 \< \! s2 \> \! s4 } >
1203 @unnumberedsubsec Slurs
1206 Slurs connects chords and try to avoid crossing stems. A slur is
1207 started with @code{(} and stopped with @code{)}. The
1208 starting @code{(} appears to the right of the first note in
1209 the slur. The terminal @code{)} appears to the left of the
1210 first note in the slur. This makes it possible to put a note in
1211 slurs from both sides:
1213 @lilypond[fragment,verbatim,center]
1214 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1218 @unnumberedsubsec Spanners
1219 @cindex @code{\spanrequest}
1222 \spanrequest @var{startstop} @var{type}
1224 @cindex @code{\start}
1225 @cindex @code{\stop}
1227 Define a spanning request. The @var{startstop} parameter is either -1
1228 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
1229 describes what should be started. Supported types are @code{crescendo},
1230 @code{decrescendo}, @code{beam}, @code{slur}. This is an internal
1231 command. Users should use the shorthands which are defined in the
1232 initialization file @file{spanners.ly}.
1234 You can attach a (general) span request to a note using
1236 @lilypond[fragment,verbatim,center]
1237 c'4-\spanrequest \start "slur"
1238 c'4-\spanrequest \stop "slur"
1241 The slur syntax with parentheses is a shorthand for this.
1244 @section Stem tremolo
1245 @cindex tremolo marks
1246 @cindex @code{tremoloFlags}
1248 [FIXME: should be \repeat]
1250 Tremolo marks can be printed on a single note by adding
1251 `@code{:}[@var{length}]' after the note. The length must be at
1252 least 8. A @var{length} value of 8 gives one line across
1253 the note stem. If the length is omitted, then the last value is
1254 used, or the value of the @code{tremoloFlags} property if there was
1257 @lilypond[verbatim,fragment,center]
1264 @cindex broken arpeggio
1265 @cindex @code{\arpeggio}
1267 You can specify an @rgrob{Arpeggio} sign on a chord by issuing an
1269 @c @code{\arpeggio} request:
1270 @code{\arpeggio} request:
1274 @lilypond[fragment,relative,verbatim]
1275 \context Voice <c'\arpeggio e g c>
1279 Typesetting of simultanious chords with arpeggios can be controlled with
1280 the property @code{PianoStaff.connectArpeggios} @footnote{ FIXME:
1281 connectArpeggios. Can't find the English terms for two kinds of
1282 arpeggio (Dutch: gebroken arpeggio vs doorlopend arpeggio).} By
1283 default, LilyPond prints broken arpeggios; when set to true, one
1284 extended arpeggio sign is printed.
1287 @lilypond[fragment,relative,verbatim]
1288 \context PianoStaff <
1289 \property PianoStaff.connectArpeggios = ##t
1290 \context Staff \context Voice <c''\arpeggio e g c>
1291 \context Staff=other \context Voice <c,\arpeggio e g>
1298 @cindex @code{\glissando}
1300 A @rgrob{Glissando} line can be requested by issuing a
1302 @c @code{\glissando} request:
1303 @code{\glissando} request:
1307 @lilypond[fragment,relative,verbatim]
1312 Printing of the additional text @samp{gliss.} must be done manually.
1315 @subsection Follow Thread
1316 @cindex follow thread
1317 @cindex staff switching
1320 @c Documented here because it looks like a glissando...
1321 @cindex @code{followThread}
1322 A glissando-like line can be printed to connect notes whenever a thread
1323 switches to another staff. This is enabled if the property
1324 @code{PianoStaff.followThread} is set to true:
1327 @lilypond[fragment,relative,verbatim]
1328 \context PianoStaff <
1329 \property PianoStaff.followThread = ##t
1330 \context Staff \context Voice {
1332 \translator Staff=two
1335 \context Staff=two {\clef bass; \skip 1*2;}
1340 @node Compound music expressions
1341 @section Compound music expressions
1343 @cindex compound music expressions
1345 Music expressions are compound data structures. You can nest music
1346 expressions any way you like. This simple example shows how three
1347 chords can be expressed in two different ways:
1349 @lilypond[fragment,verbatim,center]
1350 \notes \context Staff {
1351 <a c'> <b d' > <c' e'>
1352 < { a b c' } { c' d' e' } >
1357 @cindex @code{\context}
1358 @cindex context selection
1361 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1364 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1365 If the context does not exist, it will be created. The new context
1366 can optionally be given a name.
1372 @cindex @code{\notes}
1373 @cindex @code{\chords}
1374 @cindex @code{\lyrics}
1376 Mode switching keywords form compound music expressions: @code{\notes}
1377 @var{musicexpr}, @code{\chords} @var{musicexpr},
1378 and @code{\lyrics} @var{musicexpr}. These
1379 expressions do not add anything to the meaning of their arguments. They
1380 are just a way to indicate that the arguments should be parsed in
1381 indicated mode. See @ref{Lexical modes} for more information on modes.
1385 @unnumberedsubsec Sequential music
1386 @cindex @code{\sequential}
1387 @cindex sequential music
1390 \sequential @code{@{} @var{musicexprlist} @code{@}}
1393 This means that list should be played or written in sequence, i.e.,
1394 the second after the first, the third after the second. The duration
1395 of sequential music is the the sum of the durations of the elements.
1396 There is a shorthand, which leaves out the keyword:
1402 @code{@{} @var{musicexprlist} @code{@}}
1407 @unnumberedsubsec Simultaneous music
1408 @cindex simultaneous music
1409 @cindex @code{\simultaneous}
1412 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
1415 It constructs a music expression where all of its arguments start at
1416 the same moment. The duration is the maximum of the durations of the
1417 elements. The following shorthand is a common idiom:
1420 @code{<} @var{musicexprlist} @code{>}
1423 If you try to use a chord as the first thing in your score, you might
1424 get multiple staffs instead of a chord.
1426 @lilypond[verbatim,center]
1435 This happens because the chord is interpreted by a score context.
1436 Each time a note is encountered a default Voice context (along with a
1437 Staff context) is created. The solution is to explicitly instantiate
1440 @lilypond[verbatim,center]
1442 \notes\context Voice <c''4 e''>
1452 @node Relative octaves
1453 @section Relative octaves
1454 @cindex relative octave specification
1456 It is easy to get confused by octave changing marks and accidentally
1457 putting a pitch in the wrong octave. A much better way of entering a
1458 note's octave is `the relative octave' mode.
1460 @cindex @code{\relative}
1462 \relative @var{startpitch} @var{musicexpr}
1465 The octave of notes that appear in @var{musicexpr} are calculated as
1466 follows: If no octave changing marks are used, the basic interval
1467 between this and the last note is always taken to be a fourth or
1468 less.@footnote{The interval is determined without regarding
1469 accidentals. A @code{fisis} following a @code{ceses} will be put above
1470 the @code{ceses}.} The octave changing marks @code{'} and @code{,}
1471 can then be added to raise or lower the pitch by an extra octave.
1472 Upon entering relative mode, an absolute starting pitch must be
1473 specified that will act as the predecessor of the first note of
1476 Entering scales is straightforward in relative mode.
1478 @lilypond[fragment,verbatim,center]
1484 And octave changing marks are used for intervals greater than a fourth.
1486 @lilypond[fragment,verbatim,center]
1488 c g c f, c' a, e'' }
1491 If the preceding item is a chord, the first note of the chord is used
1492 to determine the first note of the next chord. But other notes
1493 within the second chord are determined by looking at the immediately
1496 @lilypond[fragment,verbatim,center]
1503 @cindex @code{\notes}
1505 The pitch after the @code{\relative} contains a notename. To parse
1506 the pitch as a notename, you have to be in note mode, so there must
1507 be a surrounding @code{\notes} keyword (which is not
1510 The relative conversion will not affect @code{\transpose} or
1511 @code{\relative} sections in its argument. If you want to use
1512 relative within transposed music, you must place an additional
1513 @code{\relative} inside the @code{\transpose}.
1515 It is strongly recommended to use relative pitch mode: less work,
1516 less error-prone, and more readable.
1518 @node Entering named chords
1519 @unnumberedsubsec named chords
1521 Chord names are a way to generate simultaneous music expressions that
1522 correspond with traditional chord names. It can only be used in
1523 Chord mode (see section @ref{Lexical modes}).
1527 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1530 @var{tonic} should be the tonic note of the chord, and @var{duration}
1531 is the chord duration in the usual notation. There are two kinds of
1532 modifiers. One type is @emph{chord additions}, which are obtained by
1533 listing intervals separated by dots. An interval is written by its
1534 number with an optional @code{+} or @code{-} to indicate raising or
1535 lowering by half a step. Chord additions has two effects: It adds
1536 the specified interval and all lower odd numbered intervals to the
1537 chord, and it may lower or raise the specified interval. Intervals
1538 must be separated by a dot (@code{.}).
1541 Throughout these examples, chords have been shifted around the staff
1542 using @code{\transpose}.
1547 @lilypond[fragment,verbatim]
1551 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1563 The second type of modifier that may appear after the @code{:} is a
1564 named modifier. Named modifiers are listed in the file
1565 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
1566 @code{min} which lower the 3rd half a step, `@code{aug}' which
1567 raises the 5th, `@code{dim}' which lowers the 5th,
1568 `@code{maj}' which adds a raised 7th, and `@code{sus}'
1569 which replaces the 5th with a 4th.
1573 @lilypond[fragment,verbatim]
1576 c1:m c:min7 c:maj c:aug c:dim c:sus
1584 Chord subtractions are used to eliminate notes from a chord. The
1585 notes to be subtracted are listed after a @code{^} character,
1588 @lilypond[fragment,verbatim,center]
1597 Chord inversions can be specified by appending `@code{/}' and
1598 the name of a single note to a chord. This has the effect of
1599 lowering the specified note by an octave so it becomes the lowest
1600 note in the chord. If the specified note is not in the chord, a
1601 warning will be printed.
1603 @lilypond[fragment,verbatim,center]
1613 Bass notes can be added by `@code{/+}' and
1614 the name of a single note to a chord. This has the effect of
1615 adding the specified note to the chord, lowered by an octave,
1616 so it becomes the lowest note in the chord.
1618 @lilypond[fragment,verbatim,center]
1627 The most interesting application is printing chords using chord names,
1628 See @ref{Chord names}.
1630 You should not combine @code{\relative} with named chords. [FIXME]
1633 @unnumberedsubsec Tuplets
1636 Tuplets are made out of a music expression by multiplying their
1637 duration with a fraction.
1639 @cindex @code{\times}
1641 \times @var{fraction} @var{musicexpr}
1644 The duration of @var{musicexpr} will be multiplied by the fraction.
1645 In print, the fraction's denominator will be printed over the notes,
1646 optionally with a bracket. The most common tuplet is the triplet in
1647 which 3 notes have the length of 2, so the notes are 2/3 of
1648 their written length:
1650 @lilypond[fragment,verbatim,center]
1651 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1653 @cindex @code{\grace}
1656 @unnumberedsubsec Grace notes
1660 @cindex @code{graceAlignPosition}
1663 \grace @var{musicexpr}
1666 A grace note expression has duration 0; the next real note is
1667 assumed to be the main note.
1669 You cannot have the grace note after the main note, in terms of
1670 duration, and main notes, but you can typeset the grace notes to the
1671 right of the main note using the property
1672 @code{graceAlignPosition}.
1673 @cindex @code{flagStyle}
1675 When grace music is interpreted, a score-within-a-score is set up:
1676 @var{musicexpr} has its own time bookkeeping, and you could (for
1677 example) have a separate time signature within grace notes. While in
1678 this score-within-a-score, you can create notes, beams, slurs, etc.
1679 Unbeamed eighth notes and shorter by default have a slash through the
1680 stem. This behavior can be controlled with the
1681 @code{flagStyle} property.
1684 @lilypond[fragment,verbatim]
1686 \grace c8 c4 \grace { [c16 c16] } c4
1687 \grace { \property Grace.flagStyle = "" c16 } c4
1692 @cindex @code{\grace}
1694 At present, nesting @code{\grace} notes is not supported. The following
1695 may cause run-time errors:
1697 @code{\grace @{ \grace c32 c16 @} c4}
1699 Since the meaning of such a construct is unclear, we don't consider
1700 this a loss. Similarly, juxtaposing two @code{\grace} sections is
1701 syntactically valid, but makes no sense and may cause runtime errors.
1703 Ending a staff or score with grace notes may also generate a run-time
1704 error, since there will be no main note to attach the grace notes to.
1706 The present implementation is not robust and generally kludgy. We expect
1707 it to change after LilyPond 1.4
1714 @cindex @code{\repeat}
1716 In order to specify repeats, use the @code{\repeat}
1717 keyword. Since repeats look and sound differently when played or
1718 printed, there are a few different variants of repeats.
1722 Repeated music is fully written (played) out. Useful for MIDI
1726 This is the normal notation: Repeats are not written out, but
1727 alternative endings (voltas) are printed, left to right.
1730 Alternative endings are written stacked. Which is unfortunately not
1731 practical for anything right now.
1737 The syntax for repeats is
1740 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1743 If you have alternative endings, you may add
1745 @cindex @code{\alternative}
1747 \alternative @code{@{} @var{alternative1}
1749 @var{alternative3} @dots{} @code{@}}
1752 where each @var{alternative} is a Music expression.
1754 Normal notation repeats are used like this:
1758 @lilypond[fragment,verbatim]
1760 \repeat volta 2 { c'4 d' e' f' }
1761 \repeat volta 2 { f' e' d' c' }
1766 With alternative endings:
1770 @lilypond[fragment,verbatim]
1772 \repeat volta 2 {c'4 d' e' f'}
1773 \alternative { {d'2 d'} {f' f} }
1778 Folded repeats look like this:@footnote{Folded repeats offer little
1779 more over simultaneous music. However, it is to be expected that
1780 more functionality -- especially for the MIDI backend -- will be
1785 @lilypond[fragment,verbatim]
1787 \repeat fold 2 {c'4 d' e' f'}
1788 \alternative { {d'2 d'} {f' f} }
1795 @lilypond[fragment,verbatim]
1799 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1800 \alternative { { g4 g g } { a | a a a a | b1 } }
1807 If you don't give enough alternatives for all of the repeats, then
1808 the first alternative is assumed to be repeated often enough to equal
1809 the specified number of repeats.
1812 @lilypond[fragment,verbatim]
1815 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1816 \alternative { { g4 g g }
1817 {\partial 1; e4 e e }
1818 {\partial 1; a a a a | b1 } }
1824 As you can see, LilyPond doesn't remember the timing information, nor
1825 are slurs or ties repeated. We hope to fix this after 1.4.
1827 It is possible to nest @code{\repeat}. This is not entirely
1828 supported: the notes will come be in the right places, but the repeat
1831 To place tremolo marks between notes, use @code{\repeat} with tremolo
1833 @cindex tremolo beams
1834 To create tremolo beams on a single note, simply attach
1835 `@code{:}@var{length}' to the note itself.
1837 @lilypond[fragment,verbatim,center]
1838 \repeat "tremolo" 8 { c16 d16 }
1839 \repeat "tremolo" 4 { c16 d16 }
1843 @lilypond[fragment,verbatim,center]
1853 @section Transposition
1854 @cindex transposition of pitches
1855 @cindex @code{\transpose}
1857 A music expression can be transposed with @code{\transpose}. The syntax
1860 \transpose @var{pitch} @var{musicexpr}
1863 This means that middle C in @var{musicexpr} is transposed to
1866 @code{\transpose} distinguishes between enharmonic pitches: both
1867 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1868 a tone. The first version will print sharps and the second version
1872 @lilypond[fragment,verbatim]
1875 { \key e \major; c d e f }
1877 \transpose des'' { \key e \major; c d e f }
1878 \transpose cis'' { \key e \major; c d e f }
1884 If you want to use both @code{\transpose} and @code{\relative}, then
1885 you must use @code{\transpose} first. @code{\relative} will have no
1886 effect music that appears inside a @code{\transpose}.
1888 @unnumberedsubsec Adding melodies to lyrics
1889 @cindex automatic lyric durations
1890 @cindex @code{\addlyrics}
1892 If you have lyrics that are set to a melody, you can import the rhythm
1893 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1896 \addlyrics @var{musicexpr1 musicexpr2}
1899 This means that both @var{musicexpr1} and @var{musicexpr2} are
1900 interpreted, but that every non-command atomic music expression
1901 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1902 of @var{musicexpr1}.
1903 @cindex @code{automaticMelismata}
1905 If the property @code{automaticMelismata} is set in the
1906 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1910 @lilypond[verbatim,fragment]
1913 \property Voice.automaticMelismata = ##t
1914 c8 () cis d8. e16 f2
1916 \context Lyrics \lyrics {
1921 You should use a single rhythm melody, and single rhythm lyrics (a
1922 constant duration is the obvious choice). If you do not, you will get
1923 undesired effects when using multiple stanzas:
1926 @lilypond[verbatim,fragment]
1929 c8 () cis d8. e16 f2
1931 \context Lyrics \lyrics
1938 It is valid (but probably not very useful) to use notes instead of
1939 lyrics for @var{musicexpr2}.
1941 @node Transforming music
1942 @unnumberedsubsec Apply
1943 @unnumberedsubsec Transforming music
1945 Apply allows a Scheme-function to operate directly on the internal
1946 representation of music.
1948 \apply #@var{func} @var{music}
1950 The function takes two arguments, being a function and an musical
1951 argument for that function. The function should return a music
1954 This example replaces the text string of a script. It also shows a dump
1955 of the music it processes.
1957 #(define (testfunc x)
1958 (if (eq? (ly-get-mus-property x 'text) "foo")
1959 (ly-set-mus-property x 'text "bar"))
1961 (ly-set-mus-property x 'elements
1962 (map testfunc (ly-get-mus-property x 'elements)))
1967 \apply #testfunc { c4_"foo" }
1971 For more information on what is possible, see the @ref{Tricks} and the
1972 automatically generated documentation.
1976 @section Ambiguities
1981 The grammar contains a number of ambiguities. We hope to resolve them at
1985 @item The assignment
1991 can be interpreted as making a string identifier @code{\foo}
1992 containing @code{"bar"}, or a music identifier @code{\foo}
1993 containing the syllable `bar'.
1995 @item The assignment
2001 can be interpreted as making an integer identifier
2002 containing -6, or a Request identifier containing the
2003 fingering `6' (with neutral direction).
2005 @item If you do a nested repeat like
2017 then it is ambiguous to which @code{\repeat} the
2018 @code{\alternative} belongs. This is the classic if-then-else
2019 dilemma. It may be solved by using braces.
2021 @item (an as yet unidentified ambiguity :-)
2026 @node Automatic Beaming
2027 @section Automatic Beaming
2028 @cindex automatic beam generation
2031 @cindex @code{Voice.noAutoBeaming}
2033 By default, LilyPond will generate beams automatically. This feature
2034 can be disabled by setting the @code{Voice.noAutoBeaming} property to
2035 true. It can be overridden for specific cases by specifying explicit
2038 @cindex @code{Voice.autoBeamSettings}
2039 @cindex @code{(end * * * *)}
2040 @cindex @code{(begin * * * *)}
2042 A large number of Voice properties are used to decide how to generate
2043 beams. Their default values appear in @file{scm/auto-beam.scm}. In
2044 general, beams can begin anywhere, but their ending location is
2045 significant. Beams can end on a beat, or at durations specified by the
2047 @code{Voice.autoBeamSettings}.
2048 To end beams every quarter note, for example, you could set the property
2049 @code{(end * * * *)} to @code{(make-moment 1
2050 4)}. To end beams at every three eighth notes you would set
2051 it to @code{(make-moment 1 8)}.
2052 The same syntax can be used to specify beam
2053 starting points using
2054 @code{(begin * * * *)}, eg:
2057 \property Voice.autoBeamSettings \override
2058 #'(end * * * *) = #(make-moment 1 4)
2059 \property Voice.autoBeamSettings \override
2060 #'(begin * * * *) = #(make-moment 1 8)
2064 To allow different settings for different time signatures, instead of
2065 the first two asterisks @code{* *} you can specify a time signature; use
2066 @code{(end N M * *)} to restrict the definition to
2067 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
2068 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
2070 To allow different endings for notes of different durations, instead of
2071 th last two asterisks you can specify a duration; use @code{(end * * N
2072 M)} to restrict the definition to beams that contain notes of
2073 `@var{N}@code{/}@var{M}' duration.
2075 For example, to specify beam endings for beams that contain 32nd notes,
2076 you would use @code{(end * * 1 32)}.
2079 @node Printing named chords
2080 @section Printing named chords
2084 @cindex printing!chord names
2085 @cindex @code{ChordNames}
2086 @cindex @code{ChordNameVoice}
2088 For displaying printed chord names, use the @code{ChordNames} and
2089 @code{ChordNameVoice} contexts. The chords may be entered either using
2090 the notation described above, or directly using simultaneous music.
2095 \chords {a1 b c} <d f g> <e g b>
2099 \context ChordNamesVoice \scheme
2100 \context Staff \transpose c'' \scheme
2102 \paper { linewidth = -1.; }
2107 You can make the chord changes stand out more by setting property
2108 @code{ChordNames.chordChanges} to true. This will only display chord
2109 names when there's a change in the chords scheme, but always display the
2110 chord name after a line break:
2116 c1:m \break c:m c:m c:m d
2121 \context ChordNames \scheme
2122 \context Staff \transpose c'' \scheme
2125 linewidth = 40 * \staffspace;
2137 LilyPond examines chords specified as lists of notes to determine a
2138 name to give the chord. LilyPond will not try to
2139 identify chord inversions or added base, which may result in strange
2140 chord names when chords are entered as a list of pitches:
2143 @lilypond[verbatim,center]
2152 \context ChordNamesVoice \scheme
2153 \context Staff \scheme
2155 \paper { linewidth = -1.; }
2160 To specify chord inversions, append @code{/<notename>}. To specify an
2161 added bass note, append @code{/+<notename}:
2164 @lilypond[verbatim,center]
2171 \context ChordNames \scheme
2172 \context Staff \transpose c'' \scheme
2174 \paper { linewidth = -1.; }
2179 The chord names that LilyPond should print are fully customizable. The
2180 code to print chord names is written in Scheme. It can be found in
2181 @file{scm/chord-name.scm}. Chord names are based on Banter style
2182 naming, which is unambiguous and has a logical structure. Typical
2183 American style chord names are implemented as a variation on Banter
2184 names, they can be selected by setting property @code{ChordName.style}
2189 \include "english.ly"
2194 df:m5- % Diminished triad
2195 c:5^3 % Root-fifth chord
2196 c:4^3 % Suspended fourth triad
2197 c:5+ % Augmented triad
2199 c:m5-.7- % Diminished seventh
2200 c:7+ % Major seventh
2201 c:7.4^3 % Dominant seventh suspended fourth
2202 c:5+.7 % Augmented dominant seventh
2203 c:m5-.7 % "Half" diminished seventh
2204 c:5-.7 % Dominant seventh flat fifth
2205 c:5-.7+ % Major seventh flat fifth
2206 c:m7+ % Minor-major seventh
2207 c:m7 % Minor seventh
2208 c:7 % Dominant seventh
2211 c:9^7 % Major triad w/added ninth
2212 c:6.9^7 % Six/Nine chord
2213 c:9 % Dominant ninth
2214 c:7+.9 % Major ninth
2215 c:m7.9 % Minor ninth
2220 \context ChordNames \scheme
2221 \context Staff \transpose c'' \scheme
2226 ChordName \override #'word-space = #1
2227 ChordName \override #'style = #'american
2234 Similarly, Jazz style chord names are implemented as a variation on
2235 American style names:
2241 c:6 % 6 = major triad with added sixth
2242 c:maj % triangle = maj
2247 c:m % m = minor triad
2248 c:m.6 % m6 = minor triad with added sixth
2249 c:m.7+ % m triangle = minor major seventh chord
2257 c:7.5+ % +7 = augmented dominant
2258 c:7.5- % 7b5 = hard diminished dominant
2265 c:13.9-^11 % 7(b9,13)
2266 c:13.9+^11 % 7(#9,13)
2268 c:13-.9-^11 % 7(b9,b13)
2269 c:13-.9+^11 % 7(#9,b13)
2271 % half diminished chords
2272 c:m5-.7 % slashed o = m7b5
2273 c:9.3-.5- % o/7(pure 9)
2276 c:m5-.7- % o = diminished seventh chord
2281 \context ChordNames \scheme
2282 \context Staff \transpose c'' \scheme
2287 ChordName \override #'word-space = #1
2288 ChordName \override #'style = #'jazz
2296 @node Printing lyrics
2300 @cindex printing!lyrics
2303 Lyric syllables must be interpreted within a @code{Lyrics} context
2305 @cindex context!Lyrics
2308 Here is a full example:
2314 \notes \transpose c'' {
2316 e f g2 | e4 f g2 \bar "|.";
2318 \context Lyrics \lyrics {
2319 Va-4 der Ja- cob Va- der Ja- cob
2320 Slaapt gij nog?2 Slaapt4 gij nog?2
2328 You may want a continuous line after the syllables to show melismata.
2329 To achieve this effect, add a @code{__} lyric as a separate word
2330 after the lyric to be extended. This will create an extender, a line
2331 that extends over the entire duration of the lyric. This line will
2332 run all the way to the start of the next lyric, so you may want to
2333 shorten it by using a blank lyric (using @code{_}).
2340 \notes \relative c'' {
2341 a4 () b () c () d | c () d () b () a | c () d () b () a
2343 \context Lyrics \lyrics {
2344 foo1 __ | bar2. __ _4 | baz1 __
2353 If you want to have hyphens centered between syllables (rather than
2354 attached to the end of the first syllable) you can use the special
2355 `@code{-}@code{-}' lyric as a separate word between syllables. This
2356 will result in a hyphen which length varies depending on the space
2357 between syllables, and which will be centered between the syllables.
2365 \notes \transpose c'' {
2367 e f g2 | e4 f g2 \bar "|.";
2369 \context Lyrics \lyrics {
2370 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2371 Slaapt gij nog?2 | Slaapt4 gij nog?2
2381 @node Notation Contexts
2382 @section Notation Contexts
2384 @cindex notation contexts
2386 Notation contexts are objects that only exist during a run of
2387 LilyPond. During the interpretation phase of LilyPond, the Music
2388 expression contained in a @code{\score} block is interpreted in time
2389 order. This is the order in which humans read, play, and write
2392 A context is an object that holds the reading state of the
2393 expression; it contains information like
2396 @item What notes are playing at this point?
2397 @item What symbols will be printed at this point?
2398 @item In what style will they printed?
2399 @item What is the current key signature, time signature, point within
2403 Contexts are grouped hierarchically: A @code{Voice} context is
2404 contained in a @code{Staff} context (because a staff can contain
2405 multiple voices at any point), a @code{Staff} context is contained in
2406 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2407 these can all contain multiple staffs).
2409 Contexts associated with sheet music output are called @emph{notation
2410 contexts}, those for sound output are called performance contexts.
2412 Contexts are created either manually or automatically. Initially, the
2413 top level music expression is interpreted by the top level context (the
2414 @code{Score} context). When a atomic music expression (i.e. a note, a
2415 rest, etc.), a nested set of contexts is created that can process these
2416 atomic expressions, as in this example:
2419 \score @{ \notes @{ c4 @} @}
2422 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2423 context. When the note @code{c4} itself is interpreted, a set of
2424 contexts is needed that will accept notes. The default for this is a
2425 @code{Voice} context, contained in a @code{Staff} context. Creation of
2426 these contexts results in the staff being printed.
2430 You can also create contexts manually, and you probably have to do so
2431 if you want to typeset complicated multiple part material. If a
2432 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2433 during the interpretation phase, the @var{musicexpr} argument will be
2434 interpreted with a context of type @var{name}. If you specify a name,
2435 the specific context with that name is searched.
2439 If a context of the specified type and name can not be found, a new
2440 one is created. For example,
2446 \notes \relative c'' {
2447 c4 <d4 \context Staff = "another" e4> f
2454 In this example, the @code{c} and @code{d} are printed on the
2455 default staff. For the @code{e}, a context Staff called
2456 @code{another} is specified; since that does not exist, a new
2457 context is created. Within @code{another}, a (default) Voice context
2458 is created for the @code{e4}. When all music referring to a
2459 context is finished, the context is ended as well. So after the
2460 third quarter, @code{another} is removed.
2462 Almost all music expressions inherit their interpretation context
2463 from their parent. In other words, suppose that the syntax for a
2468 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2471 When the interpretation of this music expression starts, the context
2472 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2475 Lastly, you may wonder, why this:
2481 \notes \relative c'' @{
2489 doesn't result in this:
2494 \notes \relative c'' {
2501 For the @code{c4}, a default @code{Staff} (with a contained
2502 @code{Voice}) context is created. After the @code{c4} ends, no
2503 music refers to this default staff, so it would be ended, with the
2504 result shown. To prevent this inconvenient behavior, the context to
2505 which the sequential music refers is adjusted during the
2506 interpretation. So after the @code{c4} ends, the context of the
2507 sequential music is also the default @code{Voice} context.
2508 The @code{d4} gets interpreted in the same context
2511 Properties that are set in one context are inherited by all of the
2512 contained contexts. This means that a property valid for the
2513 @code{Voice} context can be set in the @code{Score} context (for
2514 example) and thus take effect in all @code{Voice} contexts.
2516 Properties can be preset within the @code{\translator} block
2517 corresponding to the appropriate context. In this case, the syntax
2521 @var{propname} @code{=} @var{value}
2524 This assignment happens before interpretation starts, so a
2525 @code{\property} expression will override any predefined settings.
2527 The property settings are used during the interpretation phase. They
2528 are read by the LilyPond modules where interpretation contexts are
2529 built of. These modules are called @emph{translators}. Translators for
2530 notation are called @emph{engravers}, and translators for sound are
2531 called @emph{performers}.
2534 @mbinclude properties.itely
2537 @section Page layout
2539 @subsection Paper block
2541 The most important output definition is the @code{\paper} block, for
2542 music notation. The syntax is
2545 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2548 where each of the items is one of
2551 @item An assignment. The assignment must be terminated by a
2554 @item A context definition. See section @ref{contextdefs} for
2555 more information on context definitions.
2564 A margin shape declaration. The syntax is
2565 @cindex @code{\shape}
2568 \shape @var{indent1}@code{,} @var{width1}@code{,}
2569 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2574 Each pair of @var{indent} and @var{width} values is a dimension
2575 specifying how far to indent and how wide to make the line.
2576 The indentation and width of successive lines are specified by
2577 the successive pairs of dimensions. The last pair of
2578 dimensions will define the characeristics of all lines beyond
2579 those explicitly specified.
2582 @item \stylesheet declaration. Its syntax is
2584 \stylesheet @var{alist}
2587 See @file{font.scm} for details of @var{alist}.
2591 @subsection Paper variables
2593 The paper block has some variables you may want to use or change:
2596 @cindex @code{indent}
2598 The indentation of the first line of music.
2599 @cindex @code{staffspace}
2601 @item @code{staffspace}
2602 The distance between two staff lines, calculated from the center
2603 of the lines. You should use either this or @code{rulethickness}
2604 as a unit for distances you modify.
2606 @cindex @code{linewidth}
2607 @item @code{linewidth}
2608 Sets the width of the lines. If set to -1.0, a single
2609 unjustified line is produced. If you use this variable, you
2610 probably want to define it in staff spaces, ie
2612 linewidth = 30 * \staffspace;
2614 @cindex @code{textheight}
2616 @item @code{textheight}
2617 Sets the total height of the music on each page. Only used by
2619 @cindex @code{interscoreline}
2621 @item @code{interscoreline}
2622 Sets the spacing between the score lines. Defaults to 16 pt.
2623 @cindex @code{interscorelinefill}
2625 @item @code{interscorelinefill}
2626 If set to a positive number, the distance between the score
2627 lines will stretch in order to fill the full page. In that
2628 case @code{interscoreline} specifies the minimum spacing.
2630 @cindex @code{stafflinethickness}
2632 @item @code{stafflinethickness}
2633 Determines the thickness of staff lines, and also acts as a scaling
2634 parameter for other line thicknesses.
2638 @subsection Line breaks
2641 @cindex breaking lines
2643 Line breaks are normally computed automatically. They are chosen such
2644 that the resulting spacing has low variation, and looks neither cramped
2647 Occasionally you might want to override the automatic breaks; you can do
2648 this by specifying @code{\break} (see also @ref{Pre-defined
2649 Identifiers}). This will force a line break at this point. Do remember
2650 that line breaks can only occur at places where there are barlines. If
2651 you want to have a line break where there is no barline, you can force a
2652 barline by entering @code{\bar "";}.
2655 @subsection Page breaks
2657 Page breaks are normally computed by @TeX{}, so they are not under direct
2658 control. However, you can insert a commands into the .tex output to
2659 instruct @TeX{} where to break pages. For more details, see the
2660 example file @file{input/test/between-systems.ly}
2664 @cindex breaking pages
2667 @subsection Font size
2671 The Feta font provides musical symbols at six different sizes. These
2672 fonts are 11 point, 13 point, 16 point, 20 point,
2673 23 point, and 26 point. The point size of a font is the
2674 height of the five lines in a staff when displayed in the font.
2676 Definitions for these sizes are the files @file{paperSZ.ly}, where
2677 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2678 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2679 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2680 @code{paperTwentysix} are defined respectively. The default
2681 @code{\paper} block is also set.
2683 The font definitions are generated using a Scheme function. For more
2684 details, see the file @file{font.scm}.
2686 @subsection Paper size
2690 @cindex @code{papersize}
2692 To change the paper size, you must first set the
2693 @code{papersize} variable at top level. Set it to
2694 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2695 specification, you must set the font as described above. If you want
2696 the default font, then use the 20 point font. The new paper size will
2697 not take effect if the font is not loaded and selected afterwards.
2701 \include "paper16.ly"
2705 \paper @{ \paperSixteen @}
2709 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2710 will set the paper variables @code{hsize} and @code{vsize} (used by
2713 @node Context definitions
2714 @section Context definitions
2716 @cindex context definition
2717 @cindex translator definition
2718 @cindex engraver hacking
2721 A notation contexts is defined by the following information
2726 @item The LilyPond modules that do the actual conversion of music to
2727 notation. Each module is a so-called
2732 @item How these modules should cooperate, i.e. which ``cooperation
2733 module'' should be used. This cooperation module is a special
2736 @item What other contexts the context can contain,
2738 @item What properties are defined.
2741 A context definition has this syntax:
2745 \translator @code{@{}
2746 @var{translatorinit} @var{translatormodifierlist}
2750 @var{translatorinit} can be an identifier or of the form
2754 \type @var{typename} @code{;}
2757 @var{typename} is one of
2760 @cindex @code{Engraver_group_engraver}
2761 @item @code{Engraver_group_engraver}
2762 The standard cooperation engraver.
2763 @cindex @code{Score_engraver}
2765 @item @code{Score_engraver}
2766 This is cooperation module that should be in the top level context.
2767 @cindex @code{Grace_engraver_group}
2769 @item @code{Grace_engraver_group}
2770 This is a special cooperation module (resembling
2771 @code{Score_engraver}) that is used to created an embedded
2775 @var{translatormodifierlist} is a list of items where each item is
2779 @item @code{\consists} @var{engravername} @code{;}
2780 Add @var{engravername} to the list of modules in this context.
2781 The order of engravers added with @code{\consists} is
2784 @item @code{\consistsend} @var{engravername} @code{;}
2785 Analogous to @code{\consists}, but makes sure that
2786 @var{engravername} is always added to the end of the list of
2789 Some engraver types need to be at the end of the list; this
2790 insures they are put there, and stay there, if a user adds or
2791 removes engravers. This command is usually not needed for
2794 @item @code{\accepts} @var{contextname} @code{;}
2795 Add @var{contextname} to the list of context this context can
2796 contain. The first listed context is the context to create by
2799 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2800 completeness, but is never used in practice.
2803 @item @code{\remove} @var{engravername} @code{;}
2804 Remove a previously added (with @code{\consists}) engraver.
2806 @item @code{\name} @var{contextname} @code{;}
2807 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2808 the name is not specified, the translator won't do anything.
2810 @item @var{propname} @code{=} @var{value} @code{;}
2811 A property assignment. It is allowed to use reals for
2815 In the @code{\paper} block, it is also possible to define translator
2816 identifiers. Like other block identifiers, the identifier can only
2817 be used as the very first item of a translator. In order to define
2818 such an identifier outside of @code{\score}, you must do
2824 foo = \translator @{ @dots{} @}
2831 \translator @{ \foo @dots{} @}
2839 @cindex paper types, engravers, and pre-defined translators
2841 Some pre-defined identifiers can simplify modification of
2842 translators. The pre-defined identifiers are:
2845 @cindex @code{StaffContext}
2846 @item @code{StaffContext}
2847 Default Staff context.
2848 @cindex @code{RhythmicStaffContext}
2850 @item @code{RhythmicStaffContext}
2851 Default RhythmicStaff context.
2852 @cindex @code{VoiceContext}
2854 @item @code{VoiceContext}
2855 Default Voice context.
2856 @cindex @code{ScoreContext}
2858 @item @code{ScoreContext}
2859 Default Score context.
2860 @cindex @code{ScoreWithNumbers}
2862 @item @code{ScoreWithNumbers}
2863 Score context with numbering at the Score level.
2864 @cindex @code{BarNumberingStaffContext}
2866 @item @code{BarNumberingStaffContext}
2867 Staff context with numbering at the Staff level.
2868 @cindex @code{HaraKiriStaffContext}
2870 @item @code{HaraKiriStaffContext}
2871 Staff context that does not print if it only contains rests.
2872 Useful for orchestral scores.@footnote{Harakiri, also called
2873 Seppuku, is the ritual suicide of the Japanese Samourai warriors.}
2874 @cindex @code{OrchestralPartStaffContext}
2876 @item @code{OrchestralPartStaffContext}
2877 @cindex @code{OrchestralScoreContext}
2879 @item @code{OrchestralScoreContext}
2882 Using these pre-defined values, you can remove or add items to the
2891 \remove Some_engraver;
2892 \consists Different_engraver;
2901 @section Sound output
2903 The MIDI block is analogous to the paper block, but it is somewhat
2904 simpler. The @code{\midi} block can contain:
2908 @item a @code{\tempo} definition
2909 @item context definitions
2912 Assignments in the @code{\midi} block are not allowed.
2916 @cindex context definition
2918 Context definitions follow precisely the same syntax as within the
2919 \paper block. Translation modules for sound are called performers.
2920 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2925 @section MIDI instrument names
2926 @cindex instrument names
2927 @cindex @code{Staff.midiInstrument}
2928 @cindex @code{Staff.instrument}
2930 The MIDI instrument name is set by the @code{Staff.midiInstrument}
2931 property or, if that property is not set, the @code{Staff.instrument}
2932 property. The instrument name should be chosen from the following list.
2933 If the selected string does not exactly match, then LilyPond uses the
2936 [FIXME: to appendix ]
2941 "acoustic grand" "contrabass" "lead 7 (fifths)"
2942 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2943 "electric grand" "pizzicato strings" "pad 1 (new age)"
2944 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2945 "electric piano 1" "timpani" "pad 3 (polysynth)"
2946 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2947 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2948 "clav" "synthstrings 1" "pad 6 (metallic)"
2949 "celesta" "synthstrings 2" "pad 7 (halo)"
2950 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2951 "music box" "voice oohs" "fx 1 (rain)"
2952 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2953 "marimba" "orchestra hit" "fx 3 (crystal)"
2954 "xylophone" "trumpet" "fx 4 (atmosphere)"
2955 "tubular bells" "trombone" "fx 5 (brightness)"
2956 "dulcimer" "tuba" "fx 6 (goblins)"
2957 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2958 "percussive organ" "french horn" "fx 8 (sci-fi)"
2959 "rock organ" "brass section" "sitar"
2960 "church organ" "synthbrass 1" "banjo"
2961 "reed organ" "synthbrass 2" "shamisen"
2962 "accordion" "soprano sax" "koto"
2963 "harmonica" "alto sax" "kalimba"
2964 "concertina" "tenor sax" "bagpipe"
2965 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2966 "acoustic guitar (steel)" "oboe" "shanai"
2967 "electric guitar (jazz)" "english horn" "tinkle bell"
2968 "electric guitar (clean)" "bassoon" "agogo"
2969 "electric guitar (muted)" "clarinet" "steel drums"
2970 "overdriven guitar" "piccolo" "woodblock"
2971 "distorted guitar" "flute" "taiko drum"
2972 "guitar harmonics" "recorder" "melodic tom"
2973 "acoustic bass" "pan flute" "synth drum"
2974 "electric bass (finger)" "blown bottle" "reverse cymbal"
2975 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2976 "fretless bass" "whistle" "breath noise"
2977 "slap bass 1" "ocarina" "seashore"
2978 "slap bass 2" "lead 1 (square)" "bird tweet"
2979 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2980 "synth bass 2" "lead 3 (calliope)" "helicopter"
2981 "violin" "lead 4 (chiff)" "applause"
2982 "viola" "lead 5 (charang)" "gunshot"
2983 "cello" "lead 6 (voice)"
2989 @node Pre-defined Identifiers
2991 @section Pre-defined Identifiers
2993 @cindex pre-defined identifiers
2996 Various identifiers are defined in the initialization files to
2997 provide shorthands for some settings. Most of them are in
2998 @file{ly/declarations.ly} and @file{ly/property.ly}.
3001 @cindex @code{\break}
3003 Force a line break in music by using a large argument for the
3004 keyword @code{\penalty}.
3006 @cindex @code{\nobreak}
3007 @item @code{\nobreak}
3008 Prevent a line break in music by using a large negative argument
3009 for the keyword @code{\penalty}.
3011 @cindex @code{\shiftOff}
3012 @item @code{\shiftOff}
3013 Disable horizontal shifting of note heads that collide.
3015 @cindex @code{\shiftOn}
3016 @item @code{\shiftOn}
3017 Enable note heads that collide with other note heads to be
3018 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
3019 set different shift values.
3021 @cindex @code{\stemBoth}
3022 @item @code{\stemBoth}
3023 Allow stems, beams, and slurs to point either upwards or
3024 downwards, decided automatically by LilyPond.
3026 @cindex @code{\stemDown}
3027 @item @code{\stemDown}
3028 Force stems, beams, and slurs to point down.
3030 @cindex @code{\stemUp}
3031 @item @code{\stemUp}
3032 Force stems, beams and slurs to point up.
3038 @node Point and click
3039 @section Point and click