4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
11 @unnumberedsubsec Bugs
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
21 This document describes GNU LilyPond and its input format. The last
22 revision of this document was for LilyPond 1.3.141.
45 * Interpretation context::
55 The purpose of LilyPond is explained informally by the term `music
56 typesetter'. This is not a fully correct name: not only does the
57 program print musical symbols, it also makes esthetic decisions.
58 Symbols and their placements are @emph{generated} from a high-level
59 musical description. In other words, LilyPond would be best described
60 by `music compiler' or `music to notation compiler'.
62 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
63 Scheme library provides the glue that holds together the low-level
64 routines and separate modules general, which are C++.
66 When lilypond is run to typeset sheet music, the following happens:
68 @item GUILE Initialization: various scheme files are read
69 @item parsing: first standard @code{ly} initialization files are read, and
70 then the user @file{ly} file is read.
71 @item interpretation: the music in the file is processed ``in playing
72 order'', i.e. the order that you use to read sheet music, or the
73 order in which notes are played.
76 in this step, the results of the interpretation, a typesetting
77 specification, is solved.
79 @item the visible results ("virtual ink") is written to the output file.
82 During these stages different types of data play the the main role:
83 during parsing, @strong{Music} objects are created. During the
84 interpretation, @strong{context} is constructed, and with this context
85 af network of @strong{graphical objects} (``grobs'') is created. The
86 grobs contain unknown variables, and the network forms a set of
87 equations. After solving the equations and filling in these variables,
88 the printed output (in the form of @strong{molecules}) is written to an
91 These threemanship of tasks (parsing, translating, typesetting) and
92 data-structures (music, context, graphical objects) permeates the entire
93 design of the program. This manual is ordered in terms of user
94 tasks. With each concept will be explained to which of the three parts
103 The most basic forms of music are notes. We discuss how you enter them
104 here. Notes on their own don't form valid input, but for the sake of
105 brevity we omit obligotary lint such as @code{\score} blocks and
106 @code{\paper} declarations.
111 * Defining pitch names::
114 * Easy Notation note heads ::
127 @cindex Note specification
129 @cindex entering notes
131 The verbose syntax for pitch specification is
133 @cindex @code{\pitch}
135 \pitch @var{scmpitch}
138 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
140 In Note and Chord mode, pitches may be designated by names. The default
141 names are the Dutch note names. The notes are specified by the letters
142 @code{a} through @code{g} (where the octave is formed by notes ranging
143 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
144 middle C and the letters span the octave above that C.
146 @cindex note names, Dutch
148 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
149 name. A flat is formed by adding @code{-es}. Double sharps and double
150 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
151 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
152 both forms are accepted.
154 LilyPond has predefined sets of notenames for various other languages.
155 To use them, simply include the language specific init file. For
156 example: @code{\include "english.ly"}. The available language files and
157 the names they define are:
160 Note Names sharp flat
161 nederlands.ly c d e f g a bes b -is -es
162 english.ly c d e f g a bf b -s/-sharp -f/-flat
163 deutsch.ly c d e f g a b h -is -es
164 norsk.ly c d e f g a b h -iss/-is -ess/-es
165 svenska.ly c d e f g a b h -iss -ess
166 italiano.ly do re mi fa sol la sib si -d -b
167 catalan.ly do re mi fa sol la sib si -d/-s -b
175 The optional octave specification takes the form of a series of
176 single quote (`@code{'}') characters or a series of comma
177 (`@code{,}') characters. Each @code{'} raises the pitch by one
178 octave; each @code{,} lowers the pitch by an octave.
180 @lilypond[fragment,verbatim,center]
181 c' c'' es' g' as' gisis' ais'
184 @c . {Defining pitch names}
185 @node Defining pitch names
186 @subsection Defining pitch names
188 @cindex defining pitch names
189 @cindex pitch names, defining
191 Note names and chord modifiers can be customised for nationalities. The
192 syntax is as follows.
194 @cindex @code{\pitchnames}
195 @cindex @code{\chordmodifiers}
197 \pitchnames @var{scheme-alist}
198 \chordmodifiers @var{scheme-alist}
201 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
202 specific examples how to do this.
208 @subsection Durations
212 @cindex @code{\duration}
214 The syntax for a verbose duration specification is
216 \duration @var{scmduration}
218 Here, @var{scmduration} is a Scheme object of type Duration. See
219 @ref{Duration} for more information.
222 In Note, Chord, and Lyrics mode, durations may be designated by numbers
223 and dots: durations are entered as their reciprocal values. For notes
224 longer than a whole note, use identifiers.
230 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
232 r1 r2 r4 r8 r16 r32 r64 r64
238 \notes \relative c'' {
239 a\longa a\breve \autoBeamOff
240 a1 a2 a4 a8 a16 a32 a64 a64
242 r1 r2 r4 r8 r16 r32 r64 r64
247 \remove "Clef_engraver";
248 \remove "Staff_symbol_engraver";
249 \remove "Time_signature_engraver";
250 \consists "Pitch_squash_engraver";
257 As you can see, the longa is not printed. To get a longa note head, you
258 have to use a mensural note heads. This is done accomplished by setting
259 the @code{style} property of the NoteHead grob to @code{mensural}.
261 If the duration is omitted then it is set to the previous duration
262 entered. At the start of parsing a quarter note is assumed. The
263 duration can be followed by a dot (`@code{.}') to obtain dotted note
267 @lilypond[fragment,verbatim,center]
273 You can alter the length of duration by appending
274 `@code{*}@var{fraction}'. This will not affect the appearance of the
275 notes or rests produced.
281 A note specification has the form
284 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
287 LilyPond will determine what accidentals to typeset depending on the key
288 and context. The alteration refers to what note is heard, not to whether
289 an accidental is printed. A reminder accidental
290 @cindex reminder accidental
292 can be forced by adding an exclamation mark @code{!} after the pitch. A
293 cautionary accidental,
294 @cindex cautionary accidental
295 i.e., an accidental within parentheses can be obtained by adding the
296 question mark `@code{?}' after the pitch.
298 @lilypond[fragment,verbatim,center]
299 cis' d' e' cis' c'? d' e' c'!
303 @node Easy Notation note heads
304 @subsection Easy Notation note heads
306 @cindex easy notation
309 A entirely different type of note head is the "easyplay" note head: a
310 note head that includes a note name. It is used in some publications by
311 Hal-Leonard Inc. music publishers.
313 @lilypond[singleline,verbatim]
314 \include "paper26.ly"
316 \notes { c'2 e'4 f' | g'1 }
317 \paper { \translator { \EasyNotation } }
321 Note that @code{EasyNotation} overrides a @code{Score} context. You
322 probably will want to print it with magnification to make it better
328 If you view the result with Xdvi, then staff lines will show through the
329 letters. Printing the postscript file obtained either by using dvips or
330 the @code{-f ps} option of lilypond will produce the desired result.
340 A tie connects two adjacent note heads of the same pitch. When used
341 with chords, it connects all of the note heads whose pitches match.
342 Ties are indicated using the tilde symbol `@code{~}'.
343 If you try to tie together chords which have no common pitches, a
344 warning message will appear and no ties will be created.
346 @lilypond[fragment,verbatim,center]
347 e' ~ e' <c' e' g'> ~ <c' e' g'>
350 If you dislike the amount of ties created for a chord, you set
351 @code{Voice.sparseTies} to true, resulting in a smaller number of
353 @lilypond[fragment,verbatim,center]
354 \property Voice.sparseTies = ##t
355 <c' e' g'> ~ <c' e' g'>
358 In its meaning a tie is just a way of extending a note duration, similar
359 to the augmentation dot: the following example are three ways of notating
360 exactly the same concept.
361 @lilypond[fragment, singleline]
367 At present, the tie is implemented as a separate thing, temporally
368 located in between the notes. There is also no way to convert
369 between tied notes, dotted notes and plain notes.
371 Tieing only a subset of the note heads of a chord is not supported in a
372 simple way. It can be achieved by moving the tie-engraver into Thread
373 context and turning off ties per Thread.
381 @cindex @code{\times}
383 Tuplets are made out of a music expression by multiplying their duration
386 @cindex @code{\times}
388 \times @var{fraction} @var{musicexpr}
391 The duration of @var{musicexpr} will be multiplied by the fraction.
392 In print, the fraction's denominator will be printed over the notes,
393 optionally with a bracket. The most common tuplet is the triplet in
394 which 3 notes have the length of 2, so the notes are 2/3 of
395 their written length:
397 @lilypond[fragment,verbatim,center]
398 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
401 The property @code{tupletSpannerDuration} specifies how long brackets
402 should last. With this, you can make lots of tuplets while typing
403 @code{\times} only once. This saves typing work when you must make lots
406 @lilypond[fragment, relative, singleline, verbatim]
407 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
408 \times 2/3 { c''8 c c c c c }
416 Rests are entered like notes, with note name `@code{r}'.
426 \skip @var{duration} @code{;}
431 Skips the amount of time specified by @var{duration}. If no other music
432 is played, a gap will be left for the skipped time with no notes
433 printed. The shorthand is only available in Note and Chord mode.
438 @subsection Note mode
443 @cindex @code{\notes}
445 Note mode is the lexical mode generally used for inputting notes. The
451 This instructs the tokenizer to interpret @var{expr} in note mode. If a
452 a sequence of alfabetical characters, like @code{foobar}, LilyPond first
453 checks if @code{foobar} is a pitch name. If it is not a pitch name,
454 then it is treated as a string.
456 Numbers and dots indicate durations, so you can enter floating point
457 numbers in this mode.
461 @section Staff notation
463 @cindex Staff notation
475 @subsection Key signature
480 Changing the key signature is done with the @code{\key} command.
482 @code{\key} @var{pitch} @var{type} @code{;}
485 @cindex @code{\minor}
486 @cindex @code{\major}
487 @cindex @code{\minor}
488 @cindex @code{\ionian}
489 @cindex @code{\locrian}
490 @cindex @code{\aeolian}
491 @cindex @code{\mixolydian}
492 @cindex @code{\lydian}
493 @cindex @code{\phrygian}
494 @cindex @code{\dorian}
496 Here, @var{type} should be @code{\major} or @code{\minor} to get
497 @var{pitch}-major or @var{pitch}-minor, respectively. The second
498 argument is optional; the default is major keys. The @var{\context}
499 argument can also be given as an integer, which tells the number of
500 semitones that should be added to the pitch given in the subsequent
501 @code{\key} commands to get the corresponding major key, e.g.,
502 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
503 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
504 @code{\phrygian}, and @code{\dorian} are also defined.
506 This command sets context property @code{Staff.keySignature}.
508 @cindex @code{keySignature}
515 \clef @var{clefname} @code{;}
521 \property Staff.clefGlyph = @var{glyph associated with clefname}
522 \property Staff.clefPosition = @var{clef Y-position for clefname}
523 \property Staff.clefOctavation = @var{extra pitch of clefname}
526 Supported clef-names include
529 @item treble, violin, G, G2: G clef on 2nd line
530 @item french: G clef on 1st line
531 @item soprano: C clef on 1st line
532 @item mezzosoprano: C clef on 2nd line
533 @item alto: C clef on 3rd line
534 @item tenor: C clef on 4th line
535 @item baritone: C clef on 5th line
536 @item varbaritone: F clef on 3rd line
537 @item bass, F: F clef on 4th line
538 @item subbass: F clef on 5th line
539 @item percussion: percussion clef
542 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
545 @item clefs-C: modern style C clef
546 @item clefs-F: modern style F clef
547 @item clefs-G: modern style G clef
548 @item clefs-vaticana_do: Editio Vaticana style do clef
549 @item clefs-vaticana_fa: Editio Vaticana style fa clef
550 @item clefs-medicaea_do: Editio Medicaea style do clef
551 @item clefs-medicaea_fa: Editio Medicaea style fa clef
552 @item clefs-mensural1_c: modern style mensural C clef
553 @item clefs-mensural2_c: historic style small mensural C clef
554 @item clefs-mensural3_c: historic style big mensural C clef
555 @item clefs-mensural1_f: historic style traditional mensural F clef
556 @item clefs-mensural2_f: historic style new mensural F clef
557 @item clefs-mensural_g: historic style mensural G clef
558 @item clefs-hufnagel_do: historic style hufnagel do clef
559 @item clefs-hufnagel_fa: historic style hufnagel fa clef
560 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
561 @item clefs-percussion: modern style percussion clef
564 @emph{Modern style} means ``as is typeset in current editions.''
565 @emph{Historic style} means ``as was typeset or written in contemporary
566 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
569 @cindex Vaticana, Editio
570 @cindex Medicaea, Editio
571 @cindex hufnagel clefs
574 @c . {Time signature}
576 @subsection Time signature
577 @cindex Time signature
581 The time signature is changed by the @code{\time} command. Syntax:
583 \time @var{numerator}@code{/}@var{denominator} @code{;}
585 Internally, this is a shortcut for doing
587 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
590 [TODO: discuss options for layout]
597 @cindex partial measure
598 @cindex measure, partial
599 @cindex shorten measures
600 @cindex @code{\partial}
602 Partial measures are entered using the @code{\partial} command:
604 \partial @var{duration} @code{;}
607 Internally, this is a shortcut for
610 \property Score.measurePosition = -@var{length of duration}
615 @node Unmetered music
616 @subsection Unmetered music
618 Bar lines and bar numbers are calculated automatically. For unmetered
619 music (e.g. cadenzas), this is not desirable. The property
620 @code{Score.timing} can be used to switch off this automatic timing
622 @lilypond[fragment,relative,singleline,verbatim]
624 \property Score.timing = ##f
626 \property Score.timing = ##t
630 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
631 achieve the same effect.
637 @subsection Bar lines
641 @cindex measure lines
648 This is a shortcut for doing
650 \property Score.whichBar = @var{bartype}
653 You are encouraged to use @code{\repeat} for repetitions. See
654 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
658 @cindex Bar_line_engraver
660 @cindex repeatCommands
661 @cindex defaultBarType
663 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
664 @code{whichBar} at every moment. Whenever it is set to a string, it will
665 create a bar with that type. @code{whichBar} is usually set
666 automatically: at the start of a measure it is set to
667 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
668 override default measure bars.
670 @code{whichBar} can also be set directly, using @code{\property} or
671 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
680 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
681 which contexts to instantiate. some small examples? ]
685 @cindex @code{\shiftOff}
686 @item @code{\shiftOff}
687 Disable horizontal shifting of note heads that collide.
689 @cindex @code{\shiftOn}
690 @item @code{\shiftOn}
691 Enable note heads that collide with other note heads to be
692 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
693 set different shift values.
695 @cindex @code{\stemBoth}
696 @item @code{\stemBoth}
697 Allow stems and beams to point either upwards or
698 downwards, decided automatically by LilyPond.
700 @cindex @code{\stemDown}
701 @item @code{\stemDown}
702 Force stems and beams to point down.
704 @cindex @code{\stemUp}
706 Force stems and beams to point up.
709 @cindex @code{\slurBoth}
710 @cindex @code{\slurDown}
711 @cindex @code{\slurUp}
712 Similarly, for slurs use
717 @cindex @code{\tieBoth}
718 @cindex @code{\tieDown}
719 @cindex @code{\tieUp}
725 @cindex @code{\dynacmicBoth}
726 @cindex @code{\dynamicDown}
727 @cindex @code{\dynamicUp}
733 @c text scripts? articulation scripts? fingering?
735 @cindex @code{\voiceOne}
736 @cindex @code{\voiceTwo}
737 @cindex @code{\voiceThree}
738 @cindex @code{\voiceFour}
739 @cindex @code{\oneVoice}
740 @cindex @code{\shiftOn}
741 @cindex @code{\shiftOff}
743 If two voices sharing one staff have the same stem directions, their
744 note heads may collide. You can shift the note heads of one voice by
745 setting @code{\shiftOn}. This can be undone by setting
748 For simple polyphonic music, shorthands are available that combine
749 directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
750 @code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
756 Beams are used to group short notes into chunks that are aligned with
757 the metrum. LilyPond guesses where beams should be inserted, but if
758 you're not satisfied with the automatic beaming, you can either instruct
759 lilypond which patterns to beam automatically. In specific cases, you
760 can also specify explicitly what to beam and what not.
763 @c . {Automatic beams}
764 @subsection Automatic beams
766 @cindex @code{Voice.autoBeamSettings}
767 @cindex @code{(end * * * *)}
768 @cindex @code{(begin * * * *)}
770 A large number of Voice properties are used to decide how to generate
771 beams. Their default values appear in @file{scm/auto-beam.scm}.
773 By default, automatic beams can start on any note@footnote{In exotic
774 time signatures such as 1/8 and 1/16 this is not true} but can only end
775 in a few positions within the measure: they can end on a beat, or at
776 durations specified by the properties in
777 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
778 are defined in @file{scm/auto-beam.scm}.
780 The syntax for changing the value @code{autoBeamSettings} is set using
781 @code{\override} and unset using @code{\revert}:
783 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
784 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
786 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
787 whether the rule applies to begin or end-points. The quantity
788 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
789 designate all time signatures), @var{P}/@var{Q} refers to the length of
790 the beamed notes (@code{* *} designate notes of any length).
792 If you want automatic beams to end on every quarter note, you can
795 \property Voice.autoBeamSettings \override
796 #'(end * * * *) = #(make-moment 1 4)
798 The duration a quarter note is 1/4 of a whole note. It is entered as
799 @code{(make-moment 1 4)}.
801 The same syntax can be used to specify beam starting points. In this
802 example, you automatic beams can only end on a dotted quarter note.
804 \property Voice.autoBeamSettings \override
805 #'(begin * * * *) = #(make-moment 3 8)
807 In 4/4 time signature, this means that automatic beams could end only on
808 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
809 3/8 has passed within the measure).
811 You can also restrict rules to specific time signatures. A rule that
812 should only be applied in @var{N}/@var{M} time signature is formed by
813 replacing the first asterisks by @var{N} and @var{M}. For example, a
814 rule for 6/8 time exclusively looks like
816 \property Voice.autoBeamSettings \override
817 #'(begin 6 8 * *) = ...
820 If you want a rule to apply to certain types of beams, you can use the
821 second pair of asterisks. Beams are classified according to the shortest
822 note they contain. For a beam ending rule that only applies to beams
823 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
826 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
828 Automatic beams can not be put on the last note in a score.
830 @cindex automatic beam generation
832 @cindex @code{Voice.noAutoBeaming}
834 Automatic beaming is on by default, but it can switched off by setting
835 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
836 a melody that goes with lyrics.
840 It is not possible to specify beaming for beams with mixed durations,
841 that differs from the beaming of all separate durations, ie, you'll
842 have to specify manual beams to get:
843 @lilypond[fragment,singleline,relative]
844 \property Voice.autoBeamSettings
845 \override #'(end * * * *) = #(make-moment 3 8)
846 \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
851 @cindex Automatic beams
852 @subsection Manual beams
853 @cindex beams, manual
857 In some cases it may be necessary to override LilyPond's automatic
858 beaming algorithm. For example, the auto beamer will not beam over
859 rests or bar lines, so if you want that, specify the begin and end point
860 manually using @code{[} and @code{]}:
862 @lilypond[fragment,relative,verbatim]
864 r4 [r8 g'' a r8] r8 [g | a] r8
867 Whenever an manual beam is busy, the auto beam will not produce
870 @cindex @code{stemLeftBeamCount}
872 If you have specific wishes for the number of beams, you can fully
873 control the number of beams through the properties
874 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
876 @lilypond[fragment,relative,verbatim]
879 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
882 @cindex @code{stemRightBeamCount}
884 The beam symbol can be tweaked through @code{Voice.Beam}'s
885 grob-properties @code{height} and @code{staff-position},
888 Set @code{height} to zero, to get horizontal beams:
890 @lilypond[fragment,relative,verbatim]
891 \property Voice.Beam \set #'direction = #1
892 \property Voice.Beam \set #'height = #0
896 Here's how you'd specify a weird looking beam that instead of being
897 horizontal, falls two staff spaces:
899 @lilypond[fragment,relative,verbatim]
900 \property Voice.Beam \set #'staff-position = #2
901 \property Voice.Beam \set #'height = #-2
904 @cindex @code{default-neutral-direction}
906 @node Expressive marks
907 @section Expressive marks
922 A slur indicates that notes are to be played bound or @emph{legato}. In
923 lilypond, they are entered using parentheses:
924 @lilypond[fragment,verbatim,center]
925 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
929 Slurs avoid crossing stems, and are attached to note heads whenever
930 possible. In some instances involving beams slurs may be attached to a
931 stem end. If you want to override this layout you can do this through
932 @code{Voice.Slur}'s grob-property @code{attachment}:
934 Maybe reinclude other slur features and move back to tricks? Esp. the
935 second example, how to fix, can be very helpful.
937 @lilypond[fragment,relative,verbatim]
938 \property Voice.Slur \set #'direction = #1
939 \property Voice.Stem \set #'length = #5.5
941 \property Voice.Slur \set #'attachment = #'(stem . stem)
945 If a slur would strike through a stem or beam, the slur will be moved
946 away upward or downward. If this happens, attaching the slur to the
947 stems might look better:
949 @lilypond[fragment,relative,verbatim]
950 \property Voice.Stem \set #'direction = #1
951 \property Voice.Slur \set #'direction = #1
953 \property Voice.Slur \set #'attachment = #'(stem . stem)
958 Similarly, the curvature of a slur is adjusted to stay clear of note
959 heads and stems. When that would increase the curvature too much, the
960 slur is reverted to its default shape. The threshold for this decision
961 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
962 related to the enclosed area between the slur and the notes. Usually,
963 the default setting works well, but in some cases you may prefer a
964 curved slur when LilyPond decides for a vertically moved one. You can
965 express this by increasing the @code{beautiful} value:
967 @lilypond[verbatim,singleline,relative]
968 \property Voice.Beam \override #'direction = #-1
969 \property Voice.Slur \override #'direction = #1
970 c'16( a' f' a a f a, )c,
972 \property Voice.Slur \override #'beautiful = #5.0
978 The definition for @code{beautiful} is vague, the default setting is
979 experimental computer science.
981 @cindex Adusting slurs
984 @subsection Phrasing slur
986 @cindex phrasing slur
987 @cindex phrasing mark
989 A phrasing slur (or phrasing mark) connects chords and is used to
990 indicate a musical sentence. It is entered using @code{\(} and
993 @lilypond[fragment,verbatim,center,relative]
994 \time 6/4; c''\((d)e f(e)\)d
997 Typographically, the phrasing slur behaves almost exactly like a normal
998 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1001 @subsection Breath marks
1003 Breath marks are entered using @code{\breathe}:
1005 @lilypond[fragment,relative]
1009 Currently, only tick marks are supported, comma style breath marks are
1010 not. The grob for this object is called @code{Voice.BreathingSign}.
1015 Currently, only tick marks are supported, comma style breath marks are
1023 @cindex beats per minute
1024 @cindex metronome marking
1026 @cindex @code{\tempo}
1028 \tempo @var{duration} = @var{perminute} @code{;}
1031 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1032 output with 76 quarter notes per minute.
1036 The tempo setting is not printed, but is currently only used in the MIDI
1042 @subsection Text spanner
1043 @cindex Text spanner
1045 Some textual indications, e.g. rallentando, accelerando, often extend
1046 over a many measures. This is indicated by following the text with a
1047 dotted line. You can create such texts in LilyPond using
1048 text spanners. The syntax is as follows:
1050 \spanrequest \start "text"
1051 \spanrequest \stop "text"
1053 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1054 string to be printed, as well as the style is set through grob
1057 An application---or rather, a hack---is to fake octavation indications.
1058 @lilypond[fragment,relative,verbatim]
1059 \relative c' { a'''' b c a
1060 \property Voice.TextSpanner \set #'type = #'dotted-line
1061 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1062 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1063 \property Staff.centralCPosition = #-13
1064 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1082 @subsection Articulation
1083 @cindex Articulation
1085 @cindex articulations
1089 A variety of symbols can appear above and below notes to indicate
1090 different characteristics of the performance. These symbols can be
1091 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1092 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1093 forced to appear above or below the note by writing
1094 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1095 respectively. Here is a chart showing symbols above notes, with the
1096 name of the corresponding symbol appearing underneath.
1101 \property Score.LyricSyllable \override #'font-family =
1103 \property Score.LyricSyllable \override #'font-shape = #'upright
1104 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1105 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1106 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1107 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1108 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1109 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1110 c''-\thumb c''-\segno c''-\coda
1112 \context Lyrics \lyrics {
1113 accent__ marcato__ staccatissimo__ fermata
1114 stopped__ staccato__ tenuto__ upbow
1115 downbow__ lheel__ rheel__ ltoe
1116 rtoe__ turn__ open__ flageolet
1117 reverseturn__ trill__ prall__ mordent
1118 prallprall__ prallmordent__ uprall__ downprall
1119 thumb__ segno__ coda
1123 linewidth = 5.875\in;
1129 To save typing work, some shorthands are available:
1130 @lilypond[singleline]
1132 \notes \context Voice {
1133 \property Voice.TextScript \set #'font-family = #'typewriter
1134 \property Voice.TextScript \set #'font-shape = #'upright
1140 c''4-^_"c-\\^{ }" s4
1147 Fingering instructions can also be entered in this shorthand.
1148 @lilypond[verbatim, singleline, fragment]
1149 c'4-1 c'4-2 c'4-3 c'4-4
1153 @cindex @code{\script}
1162 Defines a script printing request. The argument is a string which
1163 points into the script-alias table defined in @file{scm/script.scm}.
1164 Usually the @code{\script} keyword is not used directly. Various
1165 helpful identifier definitions appear in @file{script.ly}.
1167 For information on how to add scripts, consult @file{scm/script.scm}.
1172 All of these note ornaments appear in the printed output but have no
1173 effect on the MIDI rendering of the music.
1175 Unfortunately, there is no support adding fingering instructions or
1176 ornaments to individual note heads. Some hacks exist, though. See
1177 @file{input/test/script-horizontal.ly}.
1182 @subsection Text scripts
1183 @cindex Text scripts
1185 In addition, it is possible to place arbitrary strings of text or markup
1186 text (see @ref{Text markup}) above or below notes by using a string:
1187 @code{c^"text"}. The text is typeset in italic by default.
1189 The amount of space taken by these indications by default does not
1190 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1191 take the widths into account. The identifier @code{\fattext} is defined
1192 in the standard includes.
1193 @lilypond[fragment,singleline,verbatim]
1194 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1197 Text scripts are created in form of @code{Voice.TextScript} grobs.
1199 For purposes of defining identifiers, a more verbose form also exists:
1202 \textscript @var{text}
1205 Defines a text to be printed over or under a note. @var{text} is a
1206 string or a markup text.
1210 foo = \textscript #'(finger "6")
1217 This is equivalent to @code{c4-6 c4-"foo"}.
1222 @subsection Grace notes
1231 @cindex @code{\grace}
1234 @cindex @code{graceAlignPosition}
1236 Grace notes are ornaments that are written out, but do not take up any
1237 logical time in a measure. LilyPond has limited support for grace notes.
1238 The syntax is as follows.
1240 \grace @var{musicexpr}
1243 When grace music is interpreted, a score-within-a-score is set up:
1244 @var{musicexpr} has its own time bookkeeping, and you could (for
1245 example) have a separate time signature within grace notes. While in
1246 this score-within-a-score, you can create notes, beams, slurs, etc.
1247 Unbeamed eighth notes and shorter by default have a slash through the
1248 stem. This behavior can be controlled with the
1249 @code{Stem}.@code{flag-style} property.
1251 @lilypond[fragment,verbatim]
1253 \grace c8 c4 \grace { [c16 c16] } c4
1254 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1259 At present, nesting @code{\grace} notes is not supported. The following
1260 may cause run-time errors:
1262 @code{\grace @{ \grace c32 c16 @} c4}
1264 Since the meaning of such a construct is unclear, we don't consider this
1265 a loss. Similarly, juxtaposing two @code{\grace} sections is
1266 syntactically valid, but makes no sense and may cause runtime errors.
1267 Ending a staff or score with grace notes may also generate a run-time
1268 error, since there will be no main note to attach the grace notes to.
1271 A grace note expression has duration 0; the next real note is assumed to
1272 be the main note. If you want the note to appear after the main note,
1273 set @code{Voice.graceAlignPosition} to @code{1}.
1277 The present implementation of grace notes is not robust and generally
1278 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1279 also be implemented.
1292 @subsection Glissando
1295 @cindex @code{\glissando}
1297 A glissando line can be requested by attaching a @code{\glissando} to a
1300 @lilypond[fragment,relative,verbatim]
1306 Printing of an additional text (such as @emph{gliss.}) must be done
1313 @subsection Dynamics
1326 @cindex @code{\ffff}
1336 Absolute dynamic marks are specified by using an identifier after a
1337 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1338 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1339 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1340 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1342 @lilypond[verbatim,singleline,fragment,relative]
1343 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1347 @cindex Crescendo and Decrescendo
1351 @cindex @code{\decr}
1352 @cindex @code{\rced}
1358 A crescendo mark is started with @code{\cr} and terminated with
1359 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1360 started with @code{\decr} and terminated with @code{\rced}. There are
1361 also shorthands for these marks. A crescendo can be started with
1362 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1363 can be terminated with @code{\!}. Note that @code{\!} must go before
1364 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1365 after the last note. Because these marks are bound to notes, if you
1366 want to get several marks during one note, you must use spacer notes.
1368 @lilypond[fragment,verbatim,center]
1369 c'' \< \! c'' d'' \decr e'' \rced
1370 < f''1 { s4 \< \! s2 \> \! s4 } >
1375 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1376 is an example how to do it:
1378 @lilypond[fragment,relative,verbatim]
1380 \property Voice.crescendoText = "cresc."
1381 \property Voice.crescendoSpanner = #'dashed-line
1397 @cindex @code{\repeat}
1399 To specify repeats, use the @code{\repeat} keyword. Since repeats
1400 should work differently when played or printed, there are a few
1401 different variants of repeats.
1405 Repeated music is fully written (played) out. Useful for MIDI
1409 This is the normal notation: Repeats are not written out, but
1410 alternative endings (voltas) are printed, left to right.
1413 Alternative endings are written stacked. Which is unfortunately not
1414 practical for anything right now.
1420 Make measure repeats. These look like percent signs.
1426 * Manual repeat commands::
1428 * Tremolo subdivision::
1433 @subsection Repeat syntax
1435 The syntax for repeats is
1438 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1441 If you have alternative endings, you may add
1442 @cindex @code{\alternative}
1444 \alternative @code{@{} @var{alternative1}
1446 @var{alternative3} @dots{} @code{@}}
1448 where each @var{alternative} is a music expression.
1450 Normal notation repeats are used like this:
1451 @lilypond[fragment,verbatim]
1453 \repeat volta 2 { c'4 d' e' f' }
1454 \repeat volta 2 { f' e' d' c' }
1457 With alternative endings:
1458 @lilypond[fragment,verbatim]
1460 \repeat volta 2 {c'4 d' e' f'}
1461 \alternative { {d'2 d'} {f' f} }
1464 Folded repeats look like this:@footnote{Folded repeats offer little
1465 more over simultaneous music. However, it is to be expected that
1466 more functionality -- especially for the MIDI backend -- will be
1467 implemented at some point in the future.}
1469 @lilypond[fragment,verbatim]
1471 \repeat fold 2 {c'4 d' e' f'}
1472 \alternative { {d'2 d'} {f' f} }
1476 If you don't give enough alternatives for all of the repeats, then
1477 the first alternative is assumed to be repeated often enough to equal
1478 the specified number of repeats.
1480 @lilypond[fragment,verbatim]
1484 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1485 \alternative { { g4 g g } { a | a a a a | b2. } }
1492 As you can see, LilyPond doesn't remember the timing information, nor
1493 are slurs or ties repeated, so you have to reset timing information
1494 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1495 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1498 It is possible to nest @code{\repeat}, although it probably is only
1499 meaningful for unfolded repeats.
1501 @node Manual repeat commands
1502 @subsection Manual repeat commands
1504 @cindex @code{repeatCommands}
1506 The property @code{repeatCommands} can be used to control the layout of
1507 repeats. Its value is a Scheme list of repeat commands, where each repeat
1515 @item (volta . @var{text})
1516 Print a volta bracket saying @var{text}.
1518 Stop a running volta bracket
1521 @lilypond[verbatim, fragment]
1523 \property Score.repeatCommands = #'((volta "93") end-repeat)
1525 \property Score.repeatCommands = #'((volta #f))
1530 @node Tremolo repeats
1531 @subsection Tremolo repeats
1532 @cindex tremolo beams
1534 To place tremolo marks between notes, use @code{\repeat} with tremolo
1536 @lilypond[verbatim,center,singleline]
1538 \context Voice \notes\relative c' {
1539 \repeat "tremolo" 8 { c16 d16 }
1540 \repeat "tremolo" 4 { c16 d16 }
1541 \repeat "tremolo" 2 { c16 d16 }
1542 \repeat "tremolo" 4 c16
1550 At present, the spacing between tremolo beams is not regular, since the
1551 spacing engine does not notice that not all notes are printed.
1553 @node Tremolo subdivision
1554 @subsection Tremolo subdivision
1555 @cindex tremolo marks
1556 @cindex @code{tremoloFlags}
1558 Tremolo marks can be printed on a single note by adding
1559 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1560 A @var{length} value of 8 gives one line across the note stem. If the
1561 length is omitted, then then the last value (stored in
1562 @code{Voice.tremoloFlags}) is used.
1564 @lilypond[verbatim,fragment,center]
1567 Using this mechanism pays off when you entering many tremolos, since the
1568 default argument saves a lot of typing.
1573 Tremolos in this style do not carry over into the MIDI output.
1576 @node Measure repeats
1577 @subsection Measure repeats
1579 @cindex percent repeats
1580 @cindex measure repeats
1582 In the @code{percent} style, a note pattern can be repeated. It is
1583 printed once, and then the pattern is replaced with a special sign.
1585 @lilypond[verbatim,singleline]
1586 \context Voice { \repeat "percent" 5 { c'1 } }
1589 At present, only repeats of whole measures are supported.
1591 @node Rhythmic music
1592 @section Rhythmic music
1599 @node Rhythmic staffs
1600 @subsection Rhythmic staffs
1602 Some times you might want to show only the rhythm of a melody. This can
1603 be done with the rhythmic staff. All pitches of notes on such a staff
1604 are squashed, and the staff itself looks has a single staff line:
1606 @lilypond[fragment,relative ]
1607 \context RhythmicStaff {
1609 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1616 @section Piano music
1618 Piano music is an odd type of notation: two staffs are largely
1619 independent, but sometimes voices can cross between the two staffs. The
1620 @code{PianoStaff} is especially built to handle this cross-staffing
1621 behavior. In this section we discuss the @code{PianoStaff} and some
1622 other pianistic peculiarities.
1625 * Automatic staff changes::
1626 * Manual staff switches::
1633 @c . {Automatic staff changes}
1634 @node Automatic staff changes
1635 @subsection Automatic staff changes
1636 @cindex Automatic staff changes
1638 Voices can be switched from top to bottom staff automatically. The
1641 \autochange @var{contexttype} @var{musicexp}
1643 This will switch notation context of @var{musicexp} between a
1644 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1645 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1646 of pitch (central C is the turning point), and it looks ahead skipping
1647 over rests to switch rests in advance.
1649 @lilypond[verbatim,singleline]
1650 \score { \notes \context PianoStaff <
1651 \context Staff = "up" {
1652 \autochange Staff \context Voice = VA < \relative c' {
1653 g4 a b c d r4 a g } > }
1654 \context Staff = "down" {
1660 Note how spacer rests are used to prevent the bottom staff from
1661 terminating too soon.
1664 @node Manual staff switches
1665 @subsection Manual staff switches
1667 @cindex manual staff switches
1668 @cindex staff switch, manual
1670 Voices can be switched between staffs manually, using the following command:
1672 \translator Staff = @var{which} @var{music}
1674 The string @var{which} is the name of the staff. Typically it is
1675 @code{"up"} or @code{"down"}.
1677 Formally, this construct is a music expression indicating that the
1678 context which is a direct child of the a context of type
1679 @var{contexttype} should be shifted to a context of type
1680 @var{contexttype} and the specified name.
1682 @cindex @code{\translator}
1684 \translator @var{contexttype} = @var{name}
1693 Piano pedal instruction can be expressed using
1694 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1695 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1697 These identifiers are shorthands for spanner commands of the types
1698 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1700 @lilypond[fragment,verbatim]
1701 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1704 The symbols that are printed can be modified by setting
1705 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1706 types. Refer to the generated documentation for more information.
1711 Currently, brackets are not supported, only text markings (ie. *Ped
1717 @subsection Arpeggio
1720 @cindex broken arpeggio
1721 @cindex @code{\arpeggio}
1723 You can specify an arpeggio sign on a chord by attaching an
1724 @code{\arpeggio} to a note of the chord.
1727 @lilypond[fragment,relative,verbatim]
1728 \context Voice <c'\arpeggio e g c>
1731 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1732 to the chords in both staffs, and set
1733 @code{PianoStaff.connectArpeggios}.
1735 @lilypond[fragment,relative,verbatim]
1736 \context PianoStaff <
1737 \property PianoStaff.connectArpeggios = ##t
1738 \context Voice = one { <c''\arpeggio e g c> }
1739 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1743 This command creates @code{Arpeggio} grobs.
1747 It is not possible to mix
1748 connected arpeggios and unconnected arpeggios at the same time.
1751 @c . {VoiceFollower}
1753 @subsection VoiceFollower
1755 @cindex follow voice
1756 @cindex staff switching
1759 @cindex @code{followVoice}
1761 Whenever a voice switches to another staff a line connecting the notes
1762 can be printed automatically. This is enabled if the property
1763 @code{PianoStaff.followVoice} is set to true:
1765 @lilypond[fragment,relative,verbatim]
1766 \context PianoStaff <
1767 \property PianoStaff.followVoice = ##t
1768 \context Staff \context Voice {
1770 \translator Staff=two
1773 \context Staff=two {\clef bass; \skip 1*2;}
1786 * Automatic syllable durations::
1792 @subsection Lyrics mode
1795 To print lyrics in LilyPond, you must first make a music expression from
1796 the lyric text. When they're in a music expression, that music
1797 expression can be printed by selecting an appropriate context. We shall
1798 discuss lyric printing in this order.
1802 @cindex @code{\lyrics}
1804 You can enter lyrics in a special input mode of LilyPond. This mode is
1805 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1806 The purpose of this mode is that you can enter lyrics as plain text,
1807 punctuation and accents without any hassle.
1809 The precise definition of this mode is in @ref{Lyrics mode
1810 definition}. The definition itself is ludicrous, and this will remain so
1811 until the authors of LilyPond acquire a deeper understanding of
1812 character encoding, or someone else steps up to fix this.
1814 Syllables are entered like notes, with pitches replaced by text. For
1815 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1816 the hyphen has no special meaning for lyrics, and does not introduce
1819 Spaces can be introduced into a lyric either by using quotes
1820 (@code{"}) or by using an underscore without quotes: @code{He_could4
1821 not4}. All unquoted underscores are converted to spaces.
1823 @c . {Printing lyrics}
1824 @node Printing lyrics
1825 @subsection Printing lyrics
1828 Normally, you will want to have notes and syllables matched
1829 automatically. This is accomplished using @code{\addlyrics}, which is
1830 documented in @ref{Automatic syllable durations}. Setting
1831 @code{automaticMelismata} in the melody staff, will cause slurs to be
1832 interpreted as melismata. Lyric syllables must be interpreted within a
1833 @code{Lyrics} context in order to printing them.
1835 @lilypond[verbatim,singleline]
1836 \addlyrics \notes \relative c' {
1838 \property Staff.automaticMelismata = ##t
1841 \context Lyrics \lyrics {
1843 share the so -- ftware; }
1847 @cindex lyric extender
1850 As you can see, extender lines are entered as @code{__}. This will
1851 create an extender, a line that extends over the entire duration of the
1852 lyric. This line will run all the way to the start of the next lyric,
1853 so you may want to shorten it by using a blank lyric (using @code{_}).
1857 If you want to have hyphens centered between syllables (rather than
1858 attached to the end of the first syllable) you can use the special
1859 `@code{-}@code{-}' lyric as a separate word between syllables. This
1860 will result in a hyphen which length varies depending on the space
1861 between syllables, and which will be centered between the syllables.
1863 @cindex Lyric hyphen
1865 @node Automatic syllable durations
1866 @subsection Automatic syllable durations
1867 @cindex Automatic syllable durations
1869 @cindex automatic lyric durations
1870 @cindex @code{\addlyrics}
1872 If you have lyrics that are set to a melody, you can import the rhythm
1873 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1876 \addlyrics @var{musicexpr1 musicexpr2}
1879 This means that both @var{musicexpr1} and @var{musicexpr2} are
1880 interpreted, but that every non-command atomic music expression
1881 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1882 of @var{musicexpr1}.
1883 @cindex @code{automaticMelismata}
1885 If the property @code{automaticMelismata} is set in the
1886 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1889 @lilypond[verbatim,fragment]
1892 \property Voice.automaticMelismata = ##t
1893 c8 () cis d8. e16 f2
1895 \context Lyrics \lyrics {
1899 If you want the lyric lines to be above the melody staff, or in some
1900 other, more complex configuration, then build that configuration first
1901 using simultaneous music, and use @code{\addlyrics} after that.
1903 @lilypond[verbatim, singleline]
1905 \context Lyrics = LA { s1 }
1906 \context Staff = SA { s1 }
1908 \context Staff = SA \relative c' { c4 e g g }
1909 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1912 For @code{\addlyrics} you should use a single rhythm melody, and single
1913 rhythm lyrics (a constant duration is the obvious choice). If you do
1914 not, you can get undesired effects when using multiple stanzas:
1916 @lilypond[verbatim,fragment]
1919 c8 () cis d8. e16 f2
1921 \context Lyrics \lyrics
1926 It is valid (but probably not very useful) to use notes instead of
1927 lyrics for @var{musicexpr2}.
1930 @subsection More stanzas
1934 If you have multiple stanzas printed underneath each other, the separate
1935 syllables should be aligned around punctuation. LilyPond can do this if
1936 you explain it which lyric lines belong to which melody.
1938 To this end, give the Voice context an identity, and set the LyricsVoice
1939 to name starting with that identity. In the following example, the Voice
1940 identity is @code{duet}, and the identities of the LyricsVoices are
1941 @code{duet-1} and @code{duet-2}.
1944 @lilypond[singleline,verbatim]
1947 \notes \relative c'' \context Voice = duet { \time 3/4;
1949 \lyrics \context Lyrics <
1950 \context LyricsVoice = "duet-1" {
1951 \property LyricsVoice . stanza = "Bert"
1952 Hi, my name is bert. }
1953 \context LyricsVoice = "duet-2" {
1954 \property LyricsVoice . stanza = "Ernie"
1955 Ooooo, ch\'e -- ri, je t'aime. }
1960 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1961 first system) and @code{LyricsVoice.stz} for the following systems.
1963 @cindex stanza numbering
1971 LilyPond has support for both entering and printing chords. Chords are
1972 a harmonic device that is characterized by a set of pitches. It is
1973 something different from simultaneous music, although you can express a
1974 chord using simultaneous music. In fact, chords are internally stored as
1975 simultaneous music expressions. This means you can enter chords by name,
1976 and print them as note head, or enter as notes and print as chord names:
1979 @lilypond[verbatim,singleline]
1980 twoWays = \notes \transpose c'' {
1990 < \context ChordNames \twoWays
1991 \context Staff \twoWays > }
1994 Note that this example also shows that the LilyPond chord does not
1995 attempt to be intelligent, if you enter @code{f bes d}, it does no
1996 attempt to find out whether it this is an inversion.
2000 * Printing named chords::
2005 @subsection Chords mode
2008 Chord mode is a mode where you can input sets of pitches using common
2009 names. It is introduced by the keyword @code{\chords}. It is similar
2010 to note mode, but words are also looked up in a chord modifier table
2011 (containing @code{maj}, @code{dim}, etc).
2013 Dashes and carets are used to indicate chord additions and subtractions,
2014 so articulation scripts can not be entered in Chord mode.
2016 The syntax for named chords is as follows:
2019 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2022 @var{tonic} should be the tonic note of the chord, and @var{duration}
2023 is the chord duration in the usual notation. There are two kinds of
2024 modifiers. One type is @emph{chord additions}, which are obtained by
2025 listing intervals separated by dots. An interval is written by its
2026 number with an optional @code{+} or @code{-} to indicate raising or
2027 lowering by half a step. Chord additions has two effects: It adds
2028 the specified interval and all lower odd numbered intervals to the
2029 chord, and it may lower or raise the specified interval. Intervals
2030 must be separated by a dot (@code{.}).
2032 Throughout these examples, chords have been shifted around the staff
2033 using @code{\transpose}.
2035 @lilypond[fragment,verbatim]
2039 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2049 The second type of modifier that may appear after the @code{:} is a
2050 named modifier. Named modifiers are listed in the file
2051 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2052 @code{min} which lower the 3rd half a step, `@code{aug}' which
2053 raises the 5th, `@code{dim}' which lowers the 5th,
2054 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2055 which replaces the 5th with a 4th.
2057 @lilypond[fragment,verbatim]
2060 c1:m c:min7 c:maj c:aug c:dim c:sus
2066 Chord subtractions are used to eliminate notes from a chord. The
2067 notes to be subtracted are listed after a @code{^} character,
2070 @lilypond[fragment,verbatim,center]
2079 Chord inversions can be specified by appending `@code{/}' and the name
2080 of a single note to a chord. In a chord inversion, the inverted note is
2081 transposed down until it is the lowest note in the chord. If the
2082 specified note is not in the chord, a warning will be printed.
2084 @lilypond[fragment,verbatim,center]
2094 Bass notes can be added by `@code{/+}' and
2095 the name of a single note to a chord. This has the effect of
2096 adding the specified note to the chord, lowered by an octave,
2097 so it becomes the lowest note in the chord.
2099 @lilypond[fragment,verbatim,center]
2111 @c . {Printing named chords}
2112 @node Printing named chords
2113 @subsection Printing named chords
2115 @cindex printing chord names
2118 @cindex @code{ChordNames}
2121 For displaying printed chord names, use the @code{ChordNames} context.
2122 The chords may be entered either using the notation described above, or
2123 directly using simultaneous music.
2125 @lilypond[verbatim,singleline]
2127 \chords {a1 b c} <d f g> <e g b>
2131 \context ChordNames \scheme
2132 \context Staff \transpose c'' \scheme
2137 You can make the chord changes stand out by setting property
2138 @code{ChordNames.chordChanges} to true. This will only display chord
2139 names when there's a change in the chords scheme and at the start of the
2144 c1:m \break c:m c:m c:m d
2149 \context ChordNames {
2150 \property ChordNames.chordChanges = ##t
2152 \context Staff \transpose c'' \scheme
2156 LilyPond examines chords specified as lists of notes to determine a name
2157 to give the chord. LilyPond will not try to identify chord inversions or
2158 added base, which may result in strange chord names when chords are
2159 entered as a list of pitches:
2163 @lilypond[verbatim,center,singleline]
2172 \context ChordNamesVoice \scheme
2173 \context Staff \scheme
2179 By default LilyPond uses chord name system proposed by Harald Banter
2180 (See @ref{Literature}). The system is is unambiguous and has a logical
2181 structure. Typical American style chord names may be selected by
2182 setting the @code{style} property of the @code{ChordNames.ChordName}
2183 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2186 Routines that determine the names to be printed are written in Scheme,
2187 and may be customized by the user. The code can be found in
2188 @file{scm/chord-name.scm}.
2190 [3 short examples showing differences between american, banter and jazz]
2193 @section Writing parts
2195 Orchestral music involves some special notation, both in the full score,
2196 as in the individual parts. This section explains how to tackle common
2197 problems in orchestral music.
2204 * Instrument names::
2206 * Sound output for transposing instruments::
2207 * Multi measure rests::
2208 * Automatic part combining::
2209 * Hara-kiri staffs::
2212 @c . {Rehearsal marks}
2213 @node Rehearsal marks
2214 @subsection Rehearsal marks
2215 @cindex Rehearsal marks
2217 @cindex @code{\mark}
2218 @cindex @code{Mark_engraver}
2221 \mark @var{unsigned};
2226 With this command, you can print a rehearsal mark above the system. You
2227 can provide a number, a string or a markup text as argument. If there is
2228 no argument, the property @code{rehearsalMark} is used and automatically
2231 @lilypond[fragment,verbatim]
2237 c1 \mark #'(music "scripts-segno") ;
2243 @subsection Bar numbers
2245 Bar numbers are printed at the start of the line by default. This is
2246 done by the @code{Bar_number_engraver} in the Score context.
2250 It is currently not possible to make boxed bar numbers, or print them at
2254 @node Instrument names
2255 @subsection Instrument names
2257 You can specify an instrument name for a staff by setting
2258 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2259 before the start of the staff. For the first start, @code{instrument} is
2260 used, for the next ones @code{instr} is used.
2262 @lilypond[verbatim,singleline]
2264 \property Staff.instrument = "ploink " { c''4 } }
2266 \translator { \StaffContext
2267 \consists "Instrument_name_engraver"; } } }
2270 This requires that you add the @code{Instrument_name_engraver} to the
2275 @subsection Transpose
2277 @cindex transposition of pitches
2278 @cindex @code{\transpose}
2280 A music expression can be transposed with @code{\transpose}. The syntax
2283 \transpose @var{pitch} @var{musicexpr}
2286 This means that middle C in @var{musicexpr} is transposed to
2289 @code{\transpose} distinguishes between enharmonic pitches: both
2290 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2291 a tone. The first version will print sharps and the second version
2294 @lilypond[fragment,verbatim]
2297 { \key e \major; c d e f }
2299 \transpose des'' { \key e \major; c d e f }
2300 \transpose cis'' { \key e \major; c d e f }
2304 If you want to use both @code{\transpose} and @code{\relative}, then
2305 you must use @code{\transpose} first. @code{\relative} will have no
2306 effect music that appears inside a @code{\transpose}.
2308 @node Sound output for transposing instruments
2309 @subsection Sound output transposing instruments
2311 When you want to play a score containing transposed and untransposed
2312 instruments, you have to instruct LilyPond the pitch offset (in
2313 semitones) for the transposed instruments. This is done using the
2314 @code{transposing} property. It does not affect printed output.
2316 @cindex @code{transposing}
2319 \property Staff.instrument = #"Cl. in B-flat"
2320 \property Staff.transposing = #-2
2324 @c . {Multi measure rests}
2325 @node Multi measure rests
2326 @subsection Multi measure rests
2327 @cindex Multi measure rests
2331 Multi measure rests are entered using `@code{R}'. It is specifically
2332 meant for entering parts: the rest can expand to fill a score with
2333 rests, or it can be printed as a single multimeasure rest This expansion
2334 is controlled by the property @code{Score.skipBars}. If this is set to true,
2335 Lily will not expand empty measures, and the appropriate number is added
2338 @lilypond[fragment,verbatim]
2339 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2342 Currently, there is no way to condense multiple rests into a single
2345 @cindex condensing rests
2347 @node Automatic part combining
2348 @subsection Automatic part combining
2349 @cindex automatic part combining
2350 @cindex part combiner
2352 Automatic part combining is used to merge two parts of music onto on
2353 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2354 and orchestral scores. When the two parts are identical for a period of
2355 time, only one is shown. In places where the two parts differ, stem
2356 directions are set automatically. Also, soli and @emph{a due} parts can be
2357 identified and marke.
2359 The syntax for part combining is
2362 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2365 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2366 combined into one context @var{context}. The names of the music
2367 expressions must start with the prefixes @code{one} and @code{two}.
2369 [Name of music expressions? is that context name? ]
2371 The most useful function of the part combiner to combining threads into
2372 one voice, as common for wind parts in orchestral scores:
2374 @lilypond[verbatim,singleline,fragment]
2376 \context Voice=one \partcombine Voice
2377 \context Thread=one \relative c'' {
2380 \context Thread=two \relative c'' {
2386 Notice that the first @code{g} appears only once, although it was
2387 specified twice (once in each Thread). Also note that stem, slur and tie
2388 directions are set automatically, depending whether there is a solo or
2389 unisono. The Thread called @code{one} always gets up stems, and "solo",
2390 while @code{two} always gets down stems and "Solo II".
2392 If you just want the splitting of Threads and setting of directions, and
2393 not the textual markings, you may set the property @var{soloADue} to
2394 false. This mode can be used to set hymns:
2396 @lilypond[verbatim,singleline,fragment]
2398 \property Staff.soloADue = ##f
2399 \context Voice=one \partcombine Voice
2400 \context Thread=one \relative c'' {
2403 \context Thread=two \relative c'' {
2409 There are a number of other properties that you can use to tweak
2410 the behavior of part combining, refer to the automatically generated
2411 documentation. Look for @code{Thread_devnull_engraver}
2412 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2416 In @code{soloADue} mode, when the two voices play the same notes on and
2417 off, the part combiner may typeset @code{a2} more than once in a
2420 @lilypond[fragment,singleline]
2422 \context Voice=one \partcombine Voice
2423 \context Thread=one \relative c'' {
2426 \context Thread=two \relative c'' {
2432 @cindex @code{Thread_devnull_engraver}
2433 @cindex @code{Voice_engraver}
2434 @cindex @code{A2_engraver}
2436 @node Hara-kiri staffs
2437 @subsection Hara-kiri staffs
2439 In orchestral scores, staffs that only have rests are usually removed.
2440 This saves some space. LilyPond also supports this through the
2441 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2442 of the Japanese Samourai warriors.} staff. This staff commits suicide
2443 when it finds itself to be empty after the line-breaking process---note
2444 that it will not disappear when it contains normal rests, you must use
2445 multi measure rests.
2447 The hara kiri staff is specialized version of the Staff context. It is
2448 available as the context identifier @code{\HaraKiriStaffContext}.
2449 Observe how the second staff in this example disappears in the second
2454 \notes \relative c' <
2455 \context Staff = SA { e4 f g a \break c1 }
2456 \context Staff = SB { c4 d e f \break R1 }
2460 \translator { \HaraKiriStaffContext }
2473 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2474 staff context symbol that appears at the end of a staff line. It
2475 anticipates the pitch of the first note(s) of the following line and
2476 thus helps the player or singer to manage line breaks during
2477 performance, thus enhancing readability of a score.
2481 \notes { c'1 d' e' d' \break c' d' e' d' }
2485 \consists Custos_engraver;
2486 Custos \override #'style = #'mensural;
2492 Custodes were frequently used in music notation until the 16th century.
2493 There were different appearences for different notation styles.
2494 Nowadays, they have survived only in special forms of musical notation
2495 such as via the @emph{editio vaticana} dating back to the beginning of
2498 For typesetting custodes, just put a @code{Custos_engraver} into the
2499 @code{StaffContext} when declaring the @code{\paper} block. In this
2500 block, you can also globally control the appearance of the custos symbol
2501 by setting the custos @code{style} property. Currently supported styles
2502 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2509 \consists Custos_engraver;
2510 Custos \override #'style = #'mensural;
2515 The property can also be set locally, for example in a @code{\notes}
2520 \property Staff.Custos \override #'style = #'vaticana
2521 c'1 d' e' d' \break c' d' e' d'
2525 @c . {Tuning output}
2527 @section Tuning output
2529 LilyPond tries to take as much formatting as possible out of your
2530 hands. Nevertheless, there are situations where it needs some help, or
2531 where you want to override its decisions. In this section we discuss
2532 ways to do just that.
2534 Notation output is specified in so called grobs (graphic objects). Each
2535 grob carries with it a set of properties (grob properties) specific to
2536 that object. For example, a stem grob has properties that specify its
2537 direction, length and thickness.
2540 The most common way of tuning the output is to alter the values of these
2541 properties. There are two ways of doing that: first, you can temporarily
2542 change the definition of a certain type of grob, thus affecting a whole
2543 set of objects. Second, you can select one specific object, and set a
2547 * Tuning groups of grobs ::
2548 * Tuning per grob ::
2554 @node Tuning groups of grobs
2555 @subsection Tuning groups of grobs
2557 @cindex grob description
2559 A grob definition is a Scheme association list, that is stored in a context
2560 property. By assigning to that property (using plain @code{\property}),
2561 you can change the resulting grobs.
2563 @lilypond[verbatim, fragment]
2564 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2567 The @code{\property} statement effectively empties the definition of the
2568 Stem object. One of the effects is that property specifying how it
2569 should be printed is erased, with the effect of rendering it invisible.
2575 This mechanism is fairly crude, since you can only set, but not modify,
2576 the definition of a grob. For this reason, there is a more advanced
2577 mechanism: you can add a property on top of an existing definition, or
2578 remove a property: @code{\override} adds a settings, @code{\revert}
2579 removes that setting.
2582 c'4 \property Voice.Stem \override #'thickness = #4.0
2583 c'4 \property Voice.Stem \revert #'thickness
2587 For the digirati, the grob description is an Scheme association
2588 list. Since it is singly linked, we can treat it as a stack, and
2589 @code{\override} and @code{\revert} are just push and pop
2590 operations. This pushing and popping is also used for overriding automatic
2593 If you revert a setting which was not set in the first place, then it
2594 has no effect. However, if the setting was set as a system default, it
2595 may remove the default value, and this may give surprising results,
2596 including crashes. In other words, if you use @code{\override} and
2597 @code{\revert}, be sure to balance the overrides and reverts.
2599 If balancing them is too much work, use the @code{\set} shorthand. It
2600 performs a revert followed by an override:
2602 \property Voice.Stem \set #'thickness = #2.0
2605 Formally the syntax for these constructions is
2607 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2608 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2609 \property @var{context}.@var{grobname} \revert @var{symbol}
2611 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2612 and @var{grobname} are strings and @var{value} is a Scheme expression.
2616 LilyPond will hang or crash if @var{value} contains cyclic references.
2620 @node Tuning per grob
2621 @subsection Tuning per grob
2623 @cindex \outputproperty
2625 A second way of tuning grobs is the more arcane @code{\outputproperty}
2627 Syntax is as follows
2629 \outputproperty @var{predicate} @var{symbol} = @var{value}
2631 Here @code{predicate} is a Scheme function taking a grob argument, and
2632 returning a boolean. This statement is processed by the
2633 @code{Output_property_engraver}. It instructs the engraver to feed all
2634 grobs that it sees to @var{predicate}. Whenever the predicate returns
2635 true, the grob property @var{symbol} will be set to @var{value}.
2637 You will need to combine this statement with @code{\context} to select
2638 the appropriate context to apply this to.
2640 If possible, avoid this feature: the semantics are not very clean, and
2641 the syntax and semantics are up for rewrite.
2643 Here are some random examples:
2645 @lilypond[fragment,verbatim,singleline]
2647 \context Staff \outputproperty
2648 #(make-type-checker 'note-head-interface)
2649 #'extra-offset = #'(0.5 . 0.75)
2653 @cindex @code{extra-offset}
2655 This selects all note heads occurring at current staff level, and sets
2656 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2659 Move the text "m.d.", but not the fingering instruction "2".
2660 @lilypond[verbatim,singleline]
2661 #(define (make-text-checker text)
2662 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2665 \notes\relative c''' {
2666 \property Voice.Stem \set #'direction = #1
2667 \outputproperty #(make-text-checker "m.d.")
2668 #'extra-offset = #'(-3.5 . -4.5)
2678 @subsection What to tune?
2680 This all tells you how to tune grobs, but what variables are there? The
2681 question is not answered in this manual (although you may encounter
2684 Grob properties are tied directly to the implementation of LilyPond, and
2685 they are thus a moving target. Documentation of such variables are part
2686 of the generated documentation: this documentation is generated from the
2687 sourcecode of lily for each version, so it is usually mch more up to
2688 date than this manual. It should be available from the same place where
2689 you got this manual.
2691 To decide how to tune a grob, you need to find the following information
2694 which grob to modify
2696 which property to modify
2698 which context the grob comes from.
2701 Included with the automatically generated documentation is a master list
2702 of grobs. Each one can be clicked, taking you to a overview of the
2703 available properties.
2705 There is also a master list of contexts. Clicking each takes you to an
2706 overview of the context, listing which grob types are created there.
2709 @node Font selection
2710 @subsection Font selection
2712 Most graphics in LilyPond are composed of characters of fonts. You can
2713 alter the characteristics of the font by setting certain grob
2714 properties. The mechanism that is used for this resembles LaTeX's New
2715 Font Selection Scheme. Within this scheme, a font is entirely
2716 characterized by its font name.
2718 For each grob that uses fonts (in other words, each grob that supports
2719 @code{font-interface}) a font-name must be selected before it can be
2720 printed. The font name is selected by looking at a number of grob
2725 The general class of the typeface. Supported are roman (Computer
2726 Modern), braces (for piano staff braces), music (the standard music
2727 font), dynamic (font for dynamic signs) and typewriter
2730 A symbol indicating the shape of the font, a finer gradation than
2731 font-family. Choices are italic and upright
2733 Symbol indicating the serie of the font. Series form a finer gradation
2734 than font-shape. Choices are medium and bold.
2736 @item font-relative-size
2737 A number indicating the size relative the standard size. For example,
2738 with 20pt staff height, relative size -1 corresponds to 16pt staff
2739 height, and relative size +1 corresponds to 23 pt staff height.
2741 @item font-design-size
2742 A number indicating the design size of the font.
2744 This is a feature of the Computer Modern Font: each point size has a
2745 slightly different design. Smaller design sizes are relatively wider,
2746 which enhances readability. Scalable type faces such TrueType and Adobe
2747 Type1 usually come as ``one design fits all sizes''.
2750 The name of the font, without the design size, eg. @code{cmr},
2751 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2756 The font is selected by taking the first font that satisfies all
2757 qualifiers specified. You can override any of these fields through
2758 @code{\override} and @code{\revert}. The special value @code{*} matches
2759 any value for that qualifier.
2762 \property Lyrics.LyricText \override #'font-series = #'bold
2763 \property Lyrics.LyricText \override #'font-shape = #'*
2766 @cindex @code{font-style}
2768 There are also pre-cooked font selection qualifiers. These are selected
2769 through the grob property @code{font-style}. For example, the style
2770 @code{finger} selects family @code{number} and relative size @code{-3}.
2771 Styles available include: volta, finger, tuplet, timesig, mmrest,
2772 script, large, Large and dynamic.
2774 The style sheets and tables for selecting fonts are located in
2775 @file{scm/font.scm}. Refer to this file for more information.
2779 Relative size is not linked to any real size. There is no mechanism to
2780 select magnifications of fonts, meaning that you can not scale fonts
2781 continuoussly. There is no style sheet provided for other fonts besides
2784 @cindex font selection
2785 @cindex font magnification
2786 @cindex @code{font-interface}
2790 @subsection Text markup
2794 LilyPond has an internal mechanism to typeset texts. You can
2795 form text markup expressions by composing scheme expressions
2796 in the following way.
2798 @lilypond[verbatim, singleline]
2803 c^#'(italic "italic")
2804 d_#'((bold italic) "ff")
2806 f_#'(lines "one" (bold "two"))
2807 g^#'(music "noteheads-2" "flags-u3")
2811 Normally, the Scheme markup text is stored in the @code{text} property
2812 of a grob. Formally, it is defined as follows:
2815 text: string | (head? text+)
2816 head: markup | (markup+)
2817 markup-item: property | abbrev
2818 property: (@var{key} . @var{value})
2819 abbrev: @code{rows lines roman music bold italic named super sub text}
2820 @code{finger volta timesig mmrest mark script large Large dynamic}
2823 The markup is broken down and converted into a list of grob properties,
2824 which are prepended to the property list. The @var{key}-@var{value}
2825 pair is a grob property.
2827 The following abbreviations are currently defined:
2831 horizontal mode: set all text on one line (default)
2833 vertical mode: set every text on new line
2843 lookup by character name
2845 plain text lookup (by character value)
2851 select fingering number fontstyle
2853 select volta number fontstyle
2855 select time signature number fontstyle
2857 select multi measure rest number fontstyle
2859 select mark number fontstyle
2861 select scriptsize roman fontstyle
2863 select large roman fontstyle
2865 select Large roman fontstyle
2867 select dynamics fontstyle
2870 It is possible to use @TeX{} commands in the strings, but this should be
2871 avoided because this makes it impossible for LilyPond to compute the
2872 exact length of the string, which may lead to collisions. Also, @TeX{}
2873 commands won't work with direct postscript output.
2877 @section Page layout
2891 @subsection Paper block
2894 The most important output definition is the @code{\paper} block, for
2895 music notation. The syntax is
2898 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2901 where each of the items is one of
2904 @item An assignment. The assignment must be terminated by a
2907 @item A context definition. See @ref{Notation Contexts} for
2908 more information on context definitions.
2910 @item \stylesheet declaration. Its syntax is
2912 \stylesheet @var{alist}
2915 See @file{scm/font.scm} for details of @var{alist}.
2916 @item an \elementdescriptions declaration.
2918 \elementdescriptions @var{alist}
2920 See @file{scm/grob-description.scm} for details of @var{alist}.
2924 @c . {Paper variables}
2925 @node Paper variables
2926 @subsection Paper variables
2927 @cindex Paper variables
2929 The paper block has some variables you may want to use or change:
2932 @cindex @code{indent}
2934 The indentation of the first line of music.
2935 @cindex @code{staffspace}
2937 @item @code{staffspace}
2938 The distance between two staff lines, calculated from the center
2939 of the lines. If you want scale independent output, then you should
2940 use either this or @code{stafflinethickness}
2941 as a unit for distances you modify.
2943 @cindex @code{linewidth}
2944 @item @code{linewidth}
2945 Sets the width of the lines.
2947 If set to a negative value, a single unjustified line is produced.
2948 @c rename to singleLinePaper ?
2949 The shorthand @code{\singleLine} defines a default paper block that
2950 produces a single line.
2952 @cindex @code{textheight}
2954 @item @code{textheight}
2955 Sets the total height of the music on each page. Only used by
2958 @cindex @code{interscoreline}
2960 @item @code{interscoreline}
2961 Sets the spacing between systems.
2963 @cindex @code{interscorelinefill}
2967 @item @code{interscorelinefill}
2968 If set to a positive number, the distance between the score
2969 lines will stretch in order to fill the full page. In that
2970 case @code{interscoreline} specifies the minimum spacing.
2975 @cindex @code{stafflinethickness}
2977 @item @code{stafflinethickness}
2978 Determines the thickness of staff lines, and also acts as a scaling
2979 parameter for other line thicknesses.
2986 @subsection Font size
2989 The Feta font provides musical symbols at six different sizes. These
2990 fonts are 11 point, 13 point, 16 point, 20 point,
2991 23 point, and 26 point. The point size of a font is the
2992 height of the five lines in a staff when displayed in the font.
2994 Definitions for these sizes are the files @file{paperSZ.ly}, where
2995 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2996 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2997 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2998 @code{paperTwentysix} are defined respectively. The default
2999 @code{\paper} block is also set.
3001 The font definitions are generated using a Scheme function. For more
3002 details, see the file @file{font.scm}.
3008 @subsection Paper size
3013 @cindex @code{papersize}
3015 To change the paper size, you must first set the
3016 @code{papersize} variable at top level. Set it to
3017 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3018 specification, you must set the font as described above. If you want
3019 the default font, then use the 20 point font. The new paper size will
3020 not take effect if the font is not loaded and selected afterwards.
3024 \include "paper16.ly"
3028 \paper @{ \paperSixteen @}
3032 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3033 will set the paper variables @code{hsize} and @code{vsize} (used by
3044 @subsection Line break
3047 @cindex breaking lines
3049 Line breaks are normally computed automatically. They are chosen such
3050 that the resulting spacing has low variation, and looks neither cramped
3053 Occasionally you might want to override the automatic breaks; you can do
3054 this by specifying @code{\break}. This will force a line break at this
3055 point. Do remember that line breaks can only occur at places where there
3056 are barlines. If you want to have a line break where there is no
3057 barline, you can force an invisible barline by entering @code{\bar "";}.
3059 Similarly, @code{\noBreak} forbids a line break at a certain point.
3061 @cindex @code{\penalty}
3063 The @code{\break} and @code{\noBreak} commands are defined in terms of
3064 the penalty command:
3066 \penalty @var{int} @code{;}
3069 This encourages or discourages LilyPond to make a line break at this
3074 The scaling of the @code{\penalty} argument is not well-defined. The
3075 command is rather kludgy, and slated for rewriting.
3079 @subsection Page break
3082 @cindex breaking pages
3085 Page breaks are normally computed by @TeX{}, so they are not under
3086 direct control of LilyPond. However, you can insert a commands into the
3087 @file{.tex} output to instruct @TeX{} where to break pages. For more
3088 details, see the example file @file{input/test/between-systems.ly}
3099 LilyPond can produce MIDI output. The performance lacks lots of
3100 interesting effects, such as swing, articulation, slurring, tieing,
3101 etc., but it is good enough for proof-hearing the music you enter.
3103 Dynamics and tempo changes are interpreted.
3105 [TODO: mention volume control/Instrument Equaliser]
3110 It is currently not possible to use the percussion channel (generally
3111 channel 10 of a MIDI file).
3115 * MIDI instrument names::
3120 @subsection MIDI block
3124 The MIDI block is analogous to the paper block, but it is somewhat
3125 simpler. The @code{\midi} block can contain:
3129 @item a @code{\tempo} definition
3130 @item context definitions
3133 Assignments in the @code{\midi} block are not allowed.
3137 @cindex context definition
3139 Context definitions follow precisely the same syntax as within the
3140 \paper block. Translation modules for sound are called performers.
3141 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3144 @node MIDI instrument names
3145 @subsection MIDI instrument names
3147 @cindex instrument names
3148 @cindex @code{Staff.midiInstrument}
3149 @cindex @code{Staff.instrument}
3151 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3152 property or, if that property is not set, the @code{Staff.instrument}
3153 property. The instrument name should be chosen from the list in
3154 @ref{MIDI instruments}.
3158 If the selected string does not exactly match, then LilyPond uses the
3159 default piano. It is not possible to select an instrument by number.
3171 @section Music entry
3179 One of the applications of LilyPond is to enter music from existing
3180 written or printed material. When you're doing this kind of copying
3181 work, you can easily make mistakes. This section deals with tricks and
3182 features that help you enter music, and find and correct mistakes.
3186 @subsection Relative
3188 @cindex relative octave specification
3190 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3191 When you copy existing music, it is easy to accidentally put a pitch in
3192 the wrong octave and hard to find such an error. To prevent these
3193 errors, LilyPond features octave entry.
3195 @cindex @code{\relative}
3197 \relative @var{startpitch} @var{musicexpr}
3200 The octave of notes that appear in @var{musicexpr} are calculated as
3201 follows: If no octave changing marks are used, the basic interval
3202 between this and the last note is always taken to be a fourth or less.
3203 The octave changing marks @code{'} and @code{,} can then
3204 be added to raise or lower the pitch by an extra octave. Upon entering
3205 relative mode, an absolute starting pitch must be specified that will
3206 act as the predecessor of the first note of @var{musicexpr}.
3208 This distance is determined without regarding accidentals: a
3209 @code{fisis} following a @code{ceses} will be put above the
3212 Entering music that changes octave frequently is easy in relative mode.
3213 @lilypond[fragment,singleline,verbatim,center]
3219 And octave changing marks are used for intervals greater than a fourth.
3220 @lilypond[fragment,verbatim,center]
3222 c g c f, c' a, e'' }
3225 If the preceding item is a chord, the first note of the chord is used
3226 to determine the first note of the next chord. But other notes
3227 within the second chord are determined by looking at the immediately
3230 @lilypond[fragment,verbatim,center]
3237 @cindex @code{\notes}
3239 The pitch after the @code{\relative} contains a notename. To parse
3240 the pitch as a notename, you have to be in note mode, so there must
3241 be a surrounding @code{\notes} keyword (which is not
3244 The relative conversion will not affect @code{\transpose},
3245 @code{\chords} or @code{\relative} sections in its argument. If you
3246 want to use relative within transposed music, you must place an
3247 additional @code{\relative} inside the @code{\transpose}.
3252 @subsection Bar check
3256 @cindex @code{barCheckNoSynchronize}
3260 Whenever a bar check is encountered during interpretation, a warning
3261 message is issued if it doesn't fall at a measure boundary. This can
3262 help you find errors in the input. Depending on the value of
3263 @code{barCheckNoSynchronize}, the beginning of the measure will be
3264 relocated, so this can also be used to shorten measures.
3266 A bar check is entered using the bar symbol, @code{|}
3270 @c . {Point and click}
3271 @node Point and click
3272 @subsection Point and click
3274 Point and click lets you find notes in the input by clicking on them in
3275 the Xdvi window. This makes it very easy to find input that causes some
3276 error in the sheet music.
3278 To use it, you need the following software
3282 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3283 Xdvi} version 22.36 or newer.
3285 Note that most @TeX{} distributions ship with xdvik, which is a
3286 different and less well maintained program. To find out which xdvi you
3287 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3292 Add one these lines to the top of your .ly file. The first one is for
3293 line location only. The second one is more convenient, but requires
3294 patching @code{emacsclient}.
3297 #(set! point-and-click line-location)
3298 #(set! point-and-click line-column-location)
3301 In the emacs startup file (usually @file{~/.emacs}), add the following
3306 If you want emacs to jump to the exact spot (and not just the line) on a
3307 click, you must enable column positioning. To do so, you need to patch
3308 emacsclient. Apply @file{emacsclient.patch} (included with the source
3309 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3310 source code. Recompile and stick the recompiled emacsclient into a bin
3311 directory, and put @file{server.el} into a elisp directory
3312 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3313 init file, before invoking server-start.
3316 (setq load-path (cons "~/usr/share/emacs" load-path))
3320 Xdvi must be configured to use the emacs editor. Before starting, set
3321 the environment variable @code{XEDITOR} to
3323 emacsclient --no-wait +%c:%l %f
3325 Xdvi also must be configured to find the fonts. Refer to the
3326 xdvi documentation for more information.
3328 When viewing, control-mousebutton 1 will take you to the originating
3329 line and column. Control-mousebutton 2 will show all clickable boxes.
3333 When you convert the TeX file to PostScript using dvips, dvips
3334 will complain about not finding @code{src:X:Y} files. Those complaints are
3335 harmless, and can be ignored.
3338 @c . {Using LilyPond}
3339 @node Using LilyPond
3340 @section Using LilyPond
3341 @cindex Using LilyPond
3342 @cindex Generating output
3344 @c slaat dit ergens op?
3346 @c direct postscript?
3349 @item plain lilypond
3353 For more information on how to use lilypond see
3355 @ref{Invoking LilyPond}.
3362 Ly2dvi produces titling from @code{\header} fields.
3366 For more information on how to use ly2dvi see
3375 Lilypond-book supports interleaving text and music.
3377 lilypond-book foo.doc
3379 For more information on how to use lilypond-book see
3381 @ref{lilypond-book}.
3389 An emacs mode for LilyPond is included with the source archive as
3390 @file{lilypond-mode.el} and @file{lilypond-font-lock.el}. If you have
3391 an RPM, it is in @file{/usr/share/doc/lilypond-X/}. You have to install
3394 Add this to your ~/.emacs or ~/.emacs.el:
3396 (load-library "lilypond-mode.el")
3397 (setq auto-mode-alist
3398 (cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
3399 (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
3402 If you have the latest LilyPond-1.3.x Debian package, LilyPond-mode
3403 is automatically loaded, so you need not modify your ~/.emacs file.
3406 * Pre-cooked makefile::
3409 @node Pre-cooked makefile
3410 @subsection Pre-cooked makefile
3412 @c waar deze info? is uiteindelijk wel handig, schat ik.
3414 If you have a big music project, or just a lot of LilyPond input files,
3415 all generated output from LilyPond, @TeX{} and metafont will clutter
3416 your working directory. LilyPond comes with a one-size-fits-all
3417 pre-cooked makefile that helps you manage producing ouptut. It will
3418 produce all output in @file{out}, generate and track dependencies.
3419 Also, it helps in preparing your submission to the @ref{Mutopia
3426 cp /usr/share/lilypond/make/ly.make GNUmakefile
3427 cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
3430 Generated out/menuet.ps for target menuet.
3433 Type @samp{make help} to see possible targets.
3436 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
3439 @node Interpretation context
3440 @section Interpretation context
3443 * Notation Contexts::
3444 * Creating contexts::
3445 * Default contexts::
3446 * Context properties::
3447 * Changing context definitions::
3448 * Defining new contexts::
3452 @c . {Notation Contexts}
3453 @node Notation Contexts
3454 @subsection Notation Contexts
3456 @cindex notation contexts
3458 Notation contexts are objects that only exist during a run of LilyPond.
3459 During the interpretation phase of LilyPond (when it prints
3460 "interpreting music"), the music expresiion in a @code{\score} block is
3461 interpreted in time order. This is the same order that humans hear and
3464 During this interpretation, the notation context is holds the state for
3465 the current point within the music. It contains information like
3468 @item What notes are playing at this point?
3469 @item What symbols will be printed at this point?
3470 @item What is the current key signature, time signature, point within
3474 Contexts are grouped hierarchically: A @code{Voice} context is
3475 contained in a @code{Staff} context (because a staff can contain
3476 multiple voices at any point), a @code{Staff} context is contained in
3477 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3478 these can all contain multiple staffs).
3481 Contexts associated with sheet music output are called @emph{notation
3482 contexts}, those for sound output are called performance contexts.
3485 @node Creating contexts
3486 @subsection Creating contexts
3488 @cindex @code{\context}
3489 @cindex context selection
3491 Contexts for a music expression can be selected manually, using the
3492 following music expression.
3495 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3498 This instructs lilypond to interpret @var{musicexpr} within the context
3499 of type @var{contexttype} and with name @var{contextname}. If this
3500 context does not exist, it will be created.
3502 @lilypond[verbatim,singleline]
3504 \notes \relative c'' {
3505 c4 <d4 \context Staff = "another" e4> f
3511 In this example, the @code{c} and @code{d} are printed on the
3512 default staff. For the @code{e}, a context Staff called
3513 @code{another} is specified; since that does not exist, a new
3514 context is created. Within @code{another}, a (default) Voice context
3515 is created for the @code{e4}. When all music referring to a
3516 context is finished, the context is ended as well. So after the
3517 third quarter, @code{another} is removed.
3521 @node Default contexts
3522 @subsection Default contexts
3524 Most music expressions don't need @code{\context}: they inherit the
3525 notation context from their parent. Each note is a music expression, and
3526 as you can see in the following example, only the sequential music
3527 enclosing the three notes has an explicit context.
3529 @lilypond[verbatim,singleline]
3530 \score { \notes \context Voice = goUp { c'4 d' e' } }
3533 There are some quirks that you must keep in mind when dealing with
3536 First, every top-level music is interpreted by the Score context, in other
3537 words, you may think of @code{\score} working like
3540 \context Score @var{music}
3544 Second, sequential music follows the contexts of its
3545 ``children''. Consider the following example.
3547 @lilypond[verbatim, singleline]
3548 \score { \context Score \notes { c'4 ( d' )e' } }
3551 The sequential music is interpreted by the Score context initially
3552 (notice that the @code{\context} specification is redundant), but when a
3553 note is encountered, contexts are setup to accept that note. In this
3554 case, a Thread, Voice and Staff are created. The rest of the sequential
3555 music is also interpreted with the same Thread, Voice and Staff context,
3556 putting the notes on the same staff, in the same voice.
3558 This is a convenient mechanism, but do not expect opening chords to work
3559 without @code{\context}. For every note, a separate staff is
3562 @lilypond[verbatim, singleline]
3563 \score { \notes <c'4 es'> }
3566 Of course, if the chord is preceded by a normal note in sequential
3567 music, the chord will be interpreted by the Thread of the preceding
3569 @lilypond[verbatim,singleline]
3570 \score { \notes { c'4 <c'4 es'> } }
3575 @node Context properties
3576 @subsection Context properties
3578 Notation contexts can be modified from within the @file{.ly} file. The
3579 following music expression does that job:
3581 @cindex @code{\property}
3583 \property @var{contextname}.@var{propname} = @var{value}
3586 Sets the @var{propname} property of the context @var{contextname} to the
3587 specified Scheme expression @var{value}. All @var{propname} and
3588 @var{contextname} are strings, which are typically unquoted.
3590 Properties that are set in one context are inherited by all of the
3591 contained contexts. This means that a property valid for the
3592 @code{Voice} context can be set in the @code{Score} context (for
3593 example) and thus take effect in all @code{Voice} contexts.
3595 Properties can be unset using the following expression:
3597 \property @var{contextname}.@var{propname} \unset
3600 This removes the definition of @var{propname} in @var{contextname}. If
3601 @var{propname} was not defined in @var{contextname} (but was inherited
3602 from a higher context), then this has no effect.
3607 @code{\property \unset} is not the inverse of @code{\property \set}
3612 @c . {Context definitions}
3613 @node Changing context definitions
3614 @subsection Changing context definitions
3616 @cindex context definition
3617 @cindex translator definition
3619 The most common way to define a context is by extending an existing
3620 context. You can change an existing context from the paper block, by
3621 first initializing a translator with an existing context identifier:
3625 @var{context-identifier}
3628 Then you can add engravers, remove engravers.
3629 The syntax for these operations are respectively
3631 \remove @var{engravername}
3632 \consists @var{engravername}
3636 Here @var{engravername} is a string, the name of an engraver in the
3639 @var{propname} = @var{value}
3643 @lilypond[verbatim,singleline]
3647 \translator { \StaffContext
3648 \remove Clef_engraver;
3654 You can also set properties in a translator definition. The syntax is as
3657 @var{propname} is a string and @var{value} is a Scheme
3660 @var{propname} = @var{value}
3661 @var{propname} \set @var{symbol} = @var{value}
3662 @var{propname} \override @var{symbol} = @var{value}
3663 @var{propname} \revert @var{symbol}
3667 These type of property assignments happen before interpretation starts,
3668 so a @code{\property} expression will override any predefined settings.
3671 To simplify editing translators, all standard contexts have standard
3672 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3673 @code{VoiceContext}.
3675 @node Defining new contexts
3676 @subsection Defining new contexts
3678 If you want to build a context from scratch, you must also supply the
3679 following extra information:
3681 @item A name, specified by @code{\name @var{contextname};}.
3683 @item A cooperation module. This is specified by @code{\type
3690 \type "Engraver_group_engraver";
3691 \name "SimpleStaff";
3693 \consists "Staff_symbol_engraver";
3694 \consists "Note_head_engraver";
3695 \consistsend "Axis_group_engraver";
3699 Basic building blocks of translation are called engravers; they are
3700 special C++ classes.
3702 The argument of @code{\type} is the name for a special engraver that
3703 handles cooperation between simple engravers such as
3704 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3705 for this engraver are the following:
3707 @cindex @code{Engraver_group_engraver}
3708 @item @code{Engraver_group_engraver}
3709 The standard cooperation engraver.
3711 @cindex @code{Score_engraver}
3713 @item @code{Score_engraver}
3714 This is cooperation module that should be in the top level context,
3715 and only the toplevel context.
3717 @cindex @code{Grace_engraver_group}
3719 @item @code{Grace_engraver_group}
3720 This is a special cooperation module (resembling
3721 @code{Score_engraver}) that is used to created an embedded
3728 @item @code{\alias} @var{alternate-name} @code{;}
3729 This specifies a different name. In the above example,
3730 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3732 @item @code{\consistsend} @var{engravername} @code{;}
3733 Analogous to @code{\consists}, but makes sure that
3734 @var{engravername} is always added to the end of the list of
3737 Some engraver types need to be at the end of the list; this
3738 insures they are put there, and stay there, if a user adds or
3739 removes engravers. This command is usually not needed for
3742 @item @code{\accepts} @var{contextname} @code{;}
3743 Add @var{contextname} to the list of context this context can
3744 contain. The first listed context is the context to create by
3747 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3748 completeness, but is never used in practice.
3751 @item @code{\name} @var{contextname} @code{;}
3752 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3753 the name is not specified, the translator won't do anything.
3756 In the @code{\paper} block, it is also possible to define translator
3757 identifiers. Like other block identifiers, the identifier can only
3758 be used as the very first item of a translator. In order to define
3759 such an identifier outside of @code{\score}, you must do
3764 foo = \translator @{ @dots{} @}
3771 \translator @{ \foo @dots{} @}
3779 @cindex paper types, engravers, and pre-defined translators
3786 @c . {Syntactic details}
3787 @node Syntactic details
3788 @section Syntactic details
3789 @cindex Syntactic details
3791 This section describes details that were too boring to be put elsewhere.
3796 * Music expressions::
3797 * Manipulating music expressions::
3805 @subsection Top level
3808 This section describes what you may enter at top level.
3812 @subsubsection Score
3815 @cindex score definition
3817 The output is generated combining a music expression with an output
3818 definition. A score block has the following syntax:
3821 \score @{ @var{musicexpr} @var{outputdefs} @}
3824 @var{outputdefs} are zero or more output definitions. If none is
3825 supplied, the default @code{\paper} block will be added.
3829 @c . {Default output}
3830 @subsubsection Default output
3832 Default values for the @code{\paper} and @code{\midi} block are set by
3833 entering such a block at top-level.
3836 @subsubsection Header
3838 @cindex @code{\header}
3841 A header describes bibilographic information of the file's contents. It
3842 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3843 use this information for generating titles. Key values that are used by
3844 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3845 metre, arranger, piece and tagline.
3847 @cindex @code{ly2dvi}
3851 \header @{ @var{key1} = @var{val1};
3852 @var{key2} = @var{val2}; @dots{} @}
3855 It is customary to put the @code{\header} at the top of the file.
3857 @subsubsection Default output
3859 A @code{\midi} or @code{\paper} block at top-level sets the default
3861 paper block for all scores that lack an explicit paper block.
3865 @subsection Identifiers
3868 All of the information in a LilyPond input file, is represented as a
3869 Scheme value. In addition to normal Scheme data types (such as pair,
3870 number, boolean, etc.), LilyPond has a number of specialized data types,
3877 @item Translator_def
3881 @item Music_output_def
3882 @item Moment (rational number)
3885 LilyPond also includes some transient object types. Objects of these
3886 types are built during a LilyPond run, and do not `exist' per se within
3887 your input file. These objects are created as a result of your input
3888 file, so you can include commands in the input to manipulate them,
3889 during a lilypond run.
3892 @item Grob: short for Graphical object. See @ref{Grobs}.
3893 @item Molecule: device-independent page output object,
3894 including dimensions. Produced by some Grob functions
3896 @item Translator: object that produces audio objects or Grobs. This is
3897 not yet user accessible.
3898 @item Font_metric: object representing a font. (See @ref{Font metrics})
3903 @node Music expressions
3904 @subsection Music expressions
3906 @cindex music expressions
3908 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3909 syllables are music expressions, and you can combine music expressions
3910 to form new ones, for example by enclosing a list of expressions in
3911 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3912 compound expression is formed out of the quarter note @code{c} and a
3913 quarter note @code{d}:
3916 \sequential @{ c4 d4 @}
3919 @cindex Sequential music
3920 @cindex @code{\sequential}
3921 @cindex sequential music
3924 @cindex Simultaneous music
3925 @cindex @code{\simultaneous}
3927 The two basic compound music expressions are simultaneous and
3931 \sequential @code{@{} @var{musicexprlist} @code{@}}
3932 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3934 For both, there is a shorthand:
3936 @code{@{} @var{musicexprlist} @code{@}}
3940 @code{<} @var{musicexprlist} @code{>}
3942 for simultaneous music.
3943 In principle, the way in which you nest sequential and simultaneous to
3944 produce music is not relevant. In the following example, three chords
3945 are expressed in two different ways:
3947 @lilypond[fragment,verbatim,center]
3948 \notes \context Voice {
3949 <a c'> <b d' > <c' e'>
3950 < { a b c' } { c' d' e' } >
3955 Other compound music expressions include
3958 \transpose @var{pitch} @var{expr}
3959 \apply @var{func} @var{expr}
3960 \context @var{type} = @var{id} @var{expr}
3961 \times @var{fraction} @var{expr}
3965 @c . {Manipulating music expressions}
3966 @node Manipulating music expressions
3967 @subsection Manipulating music expressions
3969 The @code{\apply} mechanism gives you access to the internal
3970 representation of music. You can write Scheme-functions that operate
3971 directly on it. The syntax is
3973 \apply #@var{func} @var{music}
3975 This means that @var{func} is applied to @var{music}. The function
3976 @var{func} should return a music expression.
3978 This example replaces the text string of a script. It also shows a dump
3979 of the music it processes, which is useful if you want to know more
3980 about how music is stored.
3982 #(define (testfunc x)
3983 (if (equal? (ly-get-mus-property x 'text) "foo")
3984 (ly-set-mus-property x 'text "bar"))
3986 (ly-set-mus-property x 'elements
3987 (map testfunc (ly-get-mus-property x 'elements)))
3992 \apply #testfunc { c4_"foo" }
3996 For more information on what is possible, see the @ref{Tricks} and the
3997 automatically generated documentation.
4000 Directly accessing internal representations is dangerous: the
4001 implementation is subject to changes, so you should avoid this feature
4006 @c . {Span requests}
4012 @subsubsection Span requests
4013 @cindex Span requests
4015 Notational constructs that start and end on different notes can be
4016 entered using span requests. The syntax is as follows:
4020 \spanrequest @var{startstop} @var{type}
4024 @cindex @code{\start}
4025 @cindex @code{\stop}
4027 This defines a spanning request. The @var{startstop} parameter is either
4028 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4029 describes what should be started. Much of the syntactic sugar is a
4030 shorthand for @code{\spanrequest}, for example,
4032 @lilypond[fragment,verbatim,center]
4033 c'4-\spanrequest \start "slur"
4034 c'4-\spanrequest \stop "slur"
4037 Among the supported types are @code{crescendo}, @code{decrescendo},
4038 @code{beam}, @code{slur}. This is an internal command. Users are
4039 encouraged to use the shorthands which are defined in the initialization
4040 file @file{spanners.ly}.
4045 @subsection Assignments
4048 Identifiers allow objects to be assigned to names during the parse
4049 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4050 and to refer to an identifier, you preceed its name with a backslash:
4051 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4052 the input-types listed above. Identifier assignments can appear at top
4053 level in the LilyPond file, but also in @code{\paper} blocks.
4055 Semicolons are forbidden after top level assignments, but mandatory in
4056 other places. The rules about semicolons and assignments are very
4057 confusing, but when LilyPond input evolves more towards Scheme, we hope
4058 that this problem will grow smaller.
4060 An identifier can be created with any string for its name, but you will
4061 only be able to refer to identifiers whose names begin with a letter,
4062 being entirely alphabetical. It is impossible to refer to an identifier
4063 whose name is the same as the name of a keyword.
4065 The right hand side of an identifier assignment is parsed completely
4066 before the assignment is done, so it is allowed to redefine an
4067 identifier in terms of its old value, e.g.
4073 When an identifier is referenced, the information it points to is
4074 copied. For this reason, an identifier reference must always be the
4075 first item in a block.
4079 \paperIdent % wrong and invalid
4083 \paperIdent % correct
4088 @c . {Lexical modes}
4090 @subsection Lexical modes
4091 @cindex Lexical modes
4094 @cindex @code{\notes}
4095 @cindex @code{\chords}
4096 @cindex @code{\lyrics}
4098 To simplify entering notes, lyrics, and chords, LilyPond has three
4099 special input modes on top of the default mode: note, lyrics and chords
4100 mode. These input modes change the way that normal, unquoted words are
4101 interpreted: for example, the word @code{cis} may be interpreted as a
4102 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4105 A mode switch is entered as a compound music expressions
4107 @code{\notes} @var{musicexpr}
4108 @code{\chords} @var{musicexpr}
4109 @code{\lyrics} @var{musicexpr}.
4112 In each of these cases, these expressions do not add anything to the
4113 meaning of their arguments. They are just a way to indicate that the
4114 arguments should be parsed in indicated mode. The modes are treated in
4115 more detail in the @ref{Note entry}, @ref{Lyrics} and
4118 You may nest different input modes.
4122 @subsection Ambiguities
4127 The grammar contains a number of ambiguities. We hope to resolve them at
4131 @item The assignment
4137 can be interpreted as making a string identifier @code{\foo}
4138 containing @code{"bar"}, or a music identifier @code{\foo}
4139 containing the syllable `bar'.
4141 @item The assignment
4147 can be interpreted as making an integer identifier
4148 containing -6, or a Request identifier containing the
4149 fingering `6' (with neutral direction).
4151 @item If you do a nested repeat like
4163 then it is ambiguous to which @code{\repeat} the
4164 @code{\alternative} belongs. This is the classic if-then-else
4165 dilemma. It may be solved by using braces.
4167 @item (an as yet unidentified ambiguity :-)
4171 @c . {Lexical details}
4172 @node Lexical details
4173 @section Lexical details
4175 Even more boring details, now on lexical side of the input parser.
4186 * Version information::
4191 @subsection Comments
4194 @cindex block comment
4195 @cindex line comment
4199 A one line comment is introduced by a @code{%} character.
4200 Block comments are started by @code{%@{} and ended by @code{%@}}.
4201 They cannot be nested.
4204 @subsection Direct Scheme
4208 @cindex Scheme, in-line code
4211 LilyPond contains a Scheme interpreter (the GUILE library) for
4212 internal use. In some places Scheme expressions also form valid syntax:
4213 whereever it is allowed,
4217 evaluates the specified Scheme code. If this is used at toplevel, then
4218 the result is discarded. Example:
4220 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4223 @code{\override} expects two Scheme expressions, so there are two Scheme
4224 expressions. The first one is a symbol (@code{foobar}), the second one
4225 an integer (namely, 3).
4227 Scheme is a full-blown programming language, and a full discussion is
4228 outside the scope of this document. Interested readers are referred to
4229 the website @uref{http://www.schemers.org/} for more information on
4234 @subsection Keywords
4238 Keywords start with a backslash, followed by a number of lower case
4239 alphabetic characters. These are all the keywords.
4242 apply arpeggio autochange spanrequest commandspanrequest
4243 simultaneous sequential accepts alternative bar breathe
4244 char chordmodifiers chords clef cm consists consistsend
4245 context denies duration dynamicscript elementdescriptions
4246 font grace header in lyrics key mark pitch
4247 time times midi mm name pitchnames notes outputproperty
4248 override set revert partial paper penalty property pt
4249 relative remove repeat addlyrics partcombine score
4250 script stylesheet skip textscript tempo translator
4255 @subsection Integers
4263 Formed from an optional minus sign followed by digits. Arithmetic
4264 operations cannot be done with integers, and integers cannot be mixed
4269 @cindex real numbers
4275 Formed from an optional minus sign and a sequence of digits followed
4276 by a @emph{required} decimal point and an optional exponent such as
4277 @code{-1.2e3}. Reals can be built up using the usual operations:
4278 `@code{+}', `@code{-}', `@code{*}', and
4279 `@code{/}', with parentheses for grouping.
4287 A real constant can be followed by one of the dimension keywords:
4288 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4289 points, inches and centimeters, respectively. This converts the number
4290 a number that is the internal representation of that dimension.
4298 Begins and ends with the @code{"} character. To include a @code{"}
4299 character in a string write @code{\"}. Various other backslash
4300 sequences have special interpretations as in the C language. A string
4301 that contains no spaces can be written without the quotes. See
4302 @ref{Lexical modes} for details on unquoted strings; their
4303 interpretation varies depending on the situation. Strings can be
4304 concatenated with the @code{+} operator.
4306 The tokenizer accepts the following commands. They have no grammatical
4307 function, hence they can appear anywhere in the input.
4311 @subsection Main input
4314 @cindex @code{\maininput}
4316 The @code{\maininput} command is used in init files to signal that the
4317 user file must be read. This command cannot be used in a user file.
4319 @node File inclusion
4320 @subsection File inclusion
4321 @cindex @code{\include}
4323 \include @var{filename}
4326 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4327 unquoted string will not work here!) or a string identifier. The full
4328 filename including the @file{.ly} extension must be given,
4331 @node Version information
4332 @subsection Version information
4333 @cindex @code{\version}
4335 \version @var{string} ;
4338 Specify the version of LilyPond that a file was written for. The
4339 argument is a version string in quotes, for example @code{"1.2.0"}.
4340 This is used to detect invalid input, and to aid
4341 @code{convert-ly} a tool that automatically upgrades input files. See
4342 See @ref{convert-ly} for more information on @code{convert-ly}.
4351 @c .{Local emacs vars}
4354 @c minor-mode: font-lock
4355 @c minor-mode: outline
4356 @c outline-layout: (-1 : 0)
4357 @c outline-use-mode-specific-leader: "@c \."
4358 @c outline-primary-bullet: "{"
4359 @c outline-stylish-prefixes: nil
4360 @c outline-override-protect: t