3 @node Reference Manual, , , Top
6 * Top level:: Top level
7 * notenames:: notenames
8 * Lexical conventions:: Lexical conventions
9 * Other languages:: notelang
12 * Music expressions:: Music expressions
13 * Atomic music expressions:: Atomic music expressions
14 * Note specification:: notedesc
16 * Manual beams:: Manual beam
18 * Compound music expressions:: Compound music expressions
21 * transpose:: transpose
22 * Ambiguities:: Ambiguities
23 * Notation conversion specifics:: Notation conversion specifics
25 * lyricprint:: lyricprint
26 * Notation Contexts:: Notation Contexts
27 * Properties:: Changing formatting
28 * Notation output definitions:: Notation output definitions
30 * Paper variables:: papervars
31 * contextdefs:: contextdefs
32 * engravers:: engravers
33 * Sound output:: Sound output
35 * Pre-defined Identifiers:: Pre-defined Identifiers
38 @chapter Reference Manual
42 @node Overview, , , Reference Manual
45 This document@footnote{This document has been revised for
46 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
47 a language for defining music. We call this language @emph{Music
48 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
49 comes up with a better name, we'd gladly take this. Gourlay already
50 uses a ``Musical Description Language,'' ISO standard 10743 defines a
51 ``Standard Music Description Language.'' We're not being original
54 @emph{Mudela} is a language that allows you to
57 @item create musical expressions by combining pitches, durations
58 @item output those musical expressions to various formats
59 @item give those musical expressions and output definitions names, so
60 you can enter them in manageable chunks.
63 @emph{Mudela} aims to define a piece of music completely, both from
64 typesetting and from a performance point of view.
68 @node Top level, , , Reference Manual
73 This section describes what you may enter at top level.
77 @cindex score definition
79 The output is generated combining a music expression with an output
80 definition. A score block has the following syntax:
83 \score @{ @var{musicexpr} @var{outputdefs} @}
86 @var{outputdefs} are zero or more output definitions. If no output
87 definition is supplied, the default @code{\paper} block will be added.
98 \header @{ @var{key1} = @var{val1};
99 @var{key2} = @var{val2}; @dots{} @}
102 A header describes the file's contents. It can also appear in a
103 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
104 information for generating titles. Key values that are used by
105 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
106 metre, arranger, piece and tagline.
108 It is customary to put the @code{\header} at the top of the file.
111 @node notenames, , , Reference Manual
113 Note name tables can be specified using
116 \notenames@keyindex{notenames}
117 @{ @var{assignmentlist} @}
120 @var{assignmentlist} is a list of definitions of the form
123 @var{name} = @var{pitch}
126 Chord modifiers can be set analogously, with
127 @code{\chordmodifiers}@keyindex{chordmodifiers}.
129 A @code{\paper} block at top level sets the default paper block. A
130 @code{\midi} block at top level works similarly.
134 LilyPond contains a Scheme interpreter (the GUILE library) for
135 internal use. The following commands access the interpreter
139 \scm @keyindex{scm} @var{scheme} ;
142 Evaluates the specified Scheme code. The result is discarded.
145 \scmfile@keyindex{scmfile} @var{filename};
148 Reads Scheme code from the specified file. The result is discarded.
152 Identifier assignments may appear at top level. Semicolons are
153 forbidden after top level assignments.
157 @node Lexical conventions, , , Reference Manual
158 @section Lexical conventions
160 @cindex lexical conventions
169 A one line comment is introduced by a `@code{%}' character.
170 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
171 They cannot be nested.
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
239 Formed from an optional minus sign followed by digits. Arithmetic
240 operations cannot be done with integers, and integers cannot be mixed
248 Formed from an optional minus sign and a sequence of digits followed
249 by a @emph{required} decimal point and an optional exponent such as
250 @code{-1.2e3}. Reals can be built up using the usual operations:
251 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
252 `@code{/}@indexcode{/}', with parentheses for grouping.
254 A real constant can be followed by one of the dimension
257 @code{\mm}@keyindex{mm},
258 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
259 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
260 centimeters, respectively. This converts the number to a real that
261 is the internal representation of dimensions.
268 Begins and ends with the `@code{"}' character. To include a `@code{"}'
269 character in a string write `@code{\"}'. Various other backslash
270 sequences have special interpretations as in the C language. A
271 string that contains no spaces can be written without the quotes.
272 See section XREF-modes [FIXME] for details on unquoted strings; their
273 interpretation varies depending on the situation. Strings can be
274 concatenated with the `@code{+}' operator.
277 The tokenizer accepts the following commands. They can appear
281 \maininput@keyindex{maininput}
284 This command is used in init files to signal that the user file must
285 be read. This command cannot be used in a user file.
288 \include@keyindex{include} @var{file}
291 Include @var{file}. The argument @var{file} may be a quoted string (an
292 unquoted string will not work here!) or a string identifier. The full
293 filename including the @file{.ly} extension must be given,
296 \version@keyindex{version} @var{string} ;
299 Specify the version of LilyPond that a file was written for. The
300 argument is a version string in quotes, for example @code{"1.2.0"}.
301 This is used to detect invalid input, and to aid
302 @code{convert-mudela}, a tool that automatically upgrades input files.
306 @cindex other languages
308 @node Other languages, , , Reference Manual
310 Note name definitions have been provided in various languages.
311 Simply include the language specific init file. For example:
312 `@code{\include "english.ly"}'. The available language files and the
313 names they define are:
318 Note Names sharp flat
319 nederlands.ly c d e f g a bes b -is -es
320 english.ly c d e f g a bf b -s/-sharp -f/-flat
321 deutsch.ly c d e f g a b h -is -es
322 norsk.ly c d e f g a b h -iss/-is -ess/-es
323 svenska.ly c d e f g a b h -iss -ess
324 italiano.ly do re mi fa sol la sid si -d -b
325 catalan.ly do re mi fa sol la sid si -d/-s -b
330 Pitch names can be redefined using the
331 @code{\notenames}@keyindex{notenames} command, see
332 subsection XREF-notenames [FIXME].
336 @cindex lexical modes
340 @node modes, , , Reference Manual
342 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
343 special input modes on top of the default mode. In each mode, words
344 are identified on the input. If @code{"word"} is encountered, it is
345 treated as a string. If @code{\word} is encountered, it is treated as
346 a keyword or as an identifier. The behavior of the modes differs in
347 two ways: Different modes treat unquoted words differently, and
348 different modes have different rules for deciding what is a word.
354 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
355 mode, a word is an alphabetic character followed by alphanumeric
356 characters. If @code{word} is encountered on the input it is
362 Note mode is introduced by the keyword
363 @code{\notes}@keyindex{notes}. In Note mode, words can only
364 contain alphabetic characters. If @code{word} is encountered,
365 LilyPond first checks for a notename of @code{word}. If no
366 notename is found, then @code{word} is treated as a string.
368 Since combinations of numbers and dots are used for indicating
369 durations, it is not possible to enter real numbers in this mode.
374 Chord mode is introduced by the keyword
375 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
376 words are also looked up in a chord modifier table (containing
377 @code{maj}, @code{dim}, etc).
379 Since combinations of numbers and dots are used for indicating
380 durations, you can not enter real numbers in this mode. Dashes
381 and carets are used to indicate chord additions and subtractions,
382 so scripts can not be entered in Chord mode.
387 Lyrics mode is introduced by the keyword
388 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
389 easy to include punctuation and diacritical marks in words. A
390 word in Lyrics mode begins with: an alphabetic character,
391 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
392 control characters @code{^A} through @code{^F}, @code{^Q} through
393 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
394 over 127, or a two-character combination of a backslash followed
395 by one of `@code{`}', `@code{'}', `@code{"}', or
396 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
397 enter lyrics in TeX format or a standard encoding without
398 needing quotes. The precise definition of this mode indeed is
399 ludicrous. This will remain so until the authors of LilyPond
400 acquire a deeper understanding of character encoding, or someone
401 else steps up to fix this.}
403 Subsequent characters of a word can be any character that is not
404 a digit and not white space. One important consequence of this
405 is that a word can end with `@code{@}}', which may be confusing if
406 you thought the closing brace was going to terminate Lyrics
407 mode.@footnote{LilyPond will issue a warning, though.} Any
408 `@code{_}' characters which appear in an unquoted word are
409 converted to spaces. This provides a mechanism for introducing
410 spaces into words without using quotes. Quoted words can also be
411 used in Lyrics mode to specify words that cannot be written with
412 the above rules. Here are some examples. Not all of these words
413 are printable by TeX.
420 2B_||_!2B % not a word because it starts with a digit
421 ``Hello'' % not a word because it starts with `
422 _ _ _ _ % 4 words, each one a space
427 Since combinations of numbers and dots are used for indicating
428 durations, you can not enter real numbers in this mode.
431 It is possible to create words that break the rules by prefixing them
432 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
433 word beginning with `@code{$}' extends until the next white space
434 character. Such words can contain numbers (even in Note mode), or
435 other forbidden characters. The dollar sign can be used to create
436 and access identifiers that could not otherwise be used.@footnote{Use
437 of `@code{$}' hampers readability and portability to future LilyPond
438 versions, thus the use of the dollar sign is discouraged.}
442 @node Types, , , Reference Manual
445 @cindex types and identifiers
447 @emph{Mudela} has a limited set of types:
453 @item music expressions
454 @item durations of notes and rests (specified with
455 @code{\notenames}@keyindex{notenames})
456 @item note name tables
457 @item context definitions, part of output definitions. See
458 section XREF-contextdefs [FIXME] for more information
459 @item output definitions (like @code{\paper}@keyindex{paper} blocks
460 and @code{\midi}@keyindex{midi} blocks)
461 @item score definitions (@code{\score}@keyindex{score} blocks)
464 Type is a syntactical property: @emph{Mudela} has no real type system,
465 so there is no support for generic expressions, functions, or user
466 defined types. For the same reason, it is not possible to mix reals
467 and integers in arithmetic expressions, and ``type
470 (e.g., using a string identifier to
471 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
474 Identifiers allow objects to be assigned to names. To assign an
475 identifier, you use `@var{name}=@var{value}' and to refer to an
476 identifier, you preceed its name with a backslash:
477 `@code{\}@var{name}'. Identifier assignments must appear at top level
478 in the @emph{Mudela} file. Semicolons are forbidden after assignments
479 appearing at top level but they are obligatory after assignments
480 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
482 @var{value} is any of the types listed above.
484 An identifier can be created with any string for its name, but you
485 will only be able to refer to identifiers whose names begin with a
486 letter, being entirely alphanumeric. It is impossible to refer to an
487 identifier whose name is the same as the name of a keyword.
489 The right hand side of an identifier assignment is parsed completely
490 before the assignment is done, so it is allowed to redefine an
491 identifier in terms of its old value, e.g.
497 When an identifier is referenced, the information it points to is
498 copied. Therefore it only makes sense to put identifiers for
499 translators, output definitions, and @code{\score}@keyindex{score}
500 blocks as the first item in a block. For this reason, if you
501 reference a @code{\foo} variable in a @code{\foo} block, it must be the
502 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
503 \two@}} does not make sense, because the information of @code{\two}
504 would overwrite the information of @code{\one}, thereby making the
505 reference to the first identifier useless.}
509 @node Music expressions, , , Reference Manual
510 @section Music expressions
512 @cindex music expressions
514 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
515 lyric syllables are music expressions (the atomic
517 @cindex atomic music expressions
518 , and you can combine
519 music expressions to form new ones. This example forms a compound
520 expressions out of the quarter @code{c} note and a @code{d}
524 \sequential @{ c4 d4 @}
527 The meaning of this compound expression is to play the `@code{c}'
528 first, and then the `@code{d}' (as opposed to playing them
529 simultaneously, for instance).
531 Atomic music expression are discussed in
532 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
533 discussed in subsection XREF-compoundmusic [FIXME].
537 @node Atomic music expressions, , , Reference Manual
538 @section Atomic music expressions
548 The syntax for pitch specification is
552 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
555 @var{octave} is specified by an integer, zero for the octave
556 containing middle C. @var{note} is a number from 0 to 7, with 0
557 corresponding to C and 7 corresponding to B. The shift is zero for a
558 natural, negative to add flats, or positive to add sharps.
560 In Note and Chord mode, pitches may be designated by names. See
561 section XREF-notelang [FIXME] for pitch names in different languages.
563 The syntax for duration specification is
566 \duration@keyindex{duration}
567 @{ @var{length} @var{dotcount} @}
570 @var{length} is the negative logarithm (base 2) of the duration:
571 1 is a half note, 2 is a quarter note, 3 is an eighth
572 note, etc. The number of dots after the note is given by
575 In Note, Chord, and Lyrics mode, durations may be designated by
576 numbers and dots. See Section XREF-notelang [FIXME] for details.
579 @node Note specification, , , Reference Manual
581 @cindex note specification
585 @cindex entering notes
587 A note specification has the form
590 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
593 The pitch of the note is specified by the note's name.
596 The default names are the Dutch note names. The notes are specified
597 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
598 octave below middle C and the letters span the octave above that C.
599 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
600 `@code{-is}' to the end of a pitch name. A flat is formed by adding
601 `@code{-es}'. Double sharps and double flats are obtained by adding
602 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
603 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
606 LilyPond has predefined sets of notenames for various languages. See
607 section XREF-notelang [FIXME] for details.
610 The optional octave specification takes the form of a series of
611 single quote (`@code{'}@indexcode{'}') characters or a series of comma
612 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
613 octave; each @code{,} lowers the pitch by an octave.
615 @mudela[fragment,verbatim,center]
616 c' d' e' f' g' a' b' c''
619 @mudela[fragment,verbatim,center]
620 cis' dis' eis' fis' gis' ais' bis'
623 @mudela[fragment,verbatim,center]
624 ces' des' es' fes' ges' as' bes'
627 @mudela[fragment,verbatim,center]
628 cisis' eisis' gisis' aisis' beses'
631 @mudela[fragment,verbatim,center]
632 ceses' eses' geses' ases' beses'
635 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
636 will determine what accidentals to typeset depending on the key and
637 context. A reminder accidental
638 @cindex reminder accidental
640 forced by adding an exclamation mark `@code{!}' after the pitch. A
641 cautionary accidental,
642 @cindex cautionary accidental
644 accidental within parentheses can be obtained by adding the question
645 mark `@code{?}@indexcode{?}' after the pitch.
647 @mudela[fragment,verbatim,center]
648 cis' d' e' cis' c'? d' e' c'!
654 Durations are entered as their reciprocal values. For notes longer
655 than a whole note, use identifiers.
661 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
670 \notes \relative c'' {
672 a1 a2 a4 a8 a16 a32 a64 a64
677 \remove "Clef_engraver";
678 \remove "Staff_symbol_engraver";
689 r1 r2 r4 r8 r16 r32 r64 r64
698 \notes \relative c'' {
700 r1 r2 r4 r8 r16 r32 r64 r64
703 loose_column_distance = 2.5 * \interline;
706 \type "Score_engraver";
708 \consists "Rest_engraver";
709 \consists "Stem_engraver";
710 \consists "Rhythmic_column_engraver";
717 If the duration is omitted then it is set equal to the previous
718 duration. If there is no previous duration, a quarter note is
719 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
720 to obtain dotted note lengths.
722 @mudela[fragment,verbatim,center]
726 You can alter the length of duration by writing
727 `@code{*}@var{fraction}' after it. This will not affect the
728 appearance of note heads or rests.
731 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
732 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
733 which produces a space of the specified duration.
734 `@code{R}' is specifically meant for entering parts: the @code{R} rest
735 can expand to fill a score with rests, or it can be printed as a
736 single multimeasure rest.
739 @cindex lyrics expressions
741 Syllables are entered like notes, with pitches replaced by text. For
742 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
743 with quarter note duration. Note that the hyphen has no special
744 meaning for lyrics, and does not introduce special symbols. See
745 section XREF-modes [FIXME] for a description of what is interpreted as
748 Spaces can be introduced into a lyric either by using quotes
749 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
750 not4}'. All unquoted underscores are converted to spaces. Printing
751 lyrics is discussed in section XREF-lyricprint [FIXME].
758 \property@keyindex{property}
759 @var{contextname}.@var{propname} = @var{value}
762 Sets the @var{propname} property of the context @var{contextname} to
763 the specified @var{value}. All three arguments are strings.
764 Depending on the context, it may be necessary to quote the strings or
765 to leave space on both sides of the dot.
769 @cindex translator switches
772 \translator@keyindex{translator}
773 @var{contexttype} = @var{name}
776 A music expression indicating that the context which is a direct
777 child of the a context of type @var{contexttype} should be shifted to
778 a context of type @var{contexttype} and the specified name.
780 Usually this is used to switch staffs in Piano music, e.g.
783 \translator Staff = top @var{Music}
787 @cindex output properties
790 These allow you to tweak what is happening in the back-end
791 directly. If you want to control every detail of the output
792 formatting, this is the feature to use. The downside to this is that
793 you need to know exactly how the backend works. Example:
796 @mudela[fragment,verbatim]
798 \context Staff \outputproperty
799 #(make-type-checker 'Note_head)
800 #'extra-offset = #'(5.0 . 7.5)
804 This selects all note heads occurring at current staff level, and sets
805 the extra-offset of those heads to (5,7.5), shifting them up and
808 Use of this feature is entirely on your own risk: if you use this, the
809 result will depend very heavily on the implentation of the backend,
810 which we change unscrupulously.
817 Commands are music expressions that have no duration.
822 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
825 Change the key signature. @var{type} should be
826 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively. The second
828 argument is optional; the default is major keys. The @var{\context}
829 argument can also be given as an integer, which tells the number of
830 semitones that should be added to the pitch given in the subsequent
831 @code{\key}@keyindex{key} commands to get the corresponding major key,
832 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
833 mode names @code{\ionian}@keyindex{ionian},
834 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
835 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
836 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
841 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
844 Specify an arbitrary key signature. The pitches from @var{pitch} will
845 be printed in the key signature in the order that they appear on the
850 \mark@keyindex{mark} @var{unsigned};
854 Prints a mark over or under (depending on the
855 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
856 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
859 @node barlines, , , Reference Manual
862 \bar@keyindex{bar} @var{bartype};
865 This is a request to print a special bar symbol. It replaces the
866 regular bar symbol with a special
867 symbol. The argument @var{bartype} is a string which specifies the
868 kind of bar to print. Options are @code{":|"}
869 @cindex "|A@@@code{:|}
872 @cindex "|B@@@code{|:}
874 @cindex "|C@@@code{:|:}
877 @cindex "|D@@@code{||}
879 @cindex "|E@@@code{|.}
882 @cindex "|F@@@code{.|}
884 @cindex "|G@@@code{.|.}
886 These produce, respectively, a right repeat, a left repeat, a double
887 repeat, a double bar, a start bar, an end bar, and a thick double
888 bar. If @var{bartype} is set to @code{"empty"} then nothing is
889 printed, but a line break is allowed at that spot.
891 You are encouraged to use @code{\repeat} for repetitions.
892 See section XREF-sec-repeats [FIXME].
899 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
902 Change the time signature. The default time signature is 4/4.
903 The time signature is used to generate bar lines.
907 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
910 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
911 requests output with 76 quarter notes per minute.
915 \partial@keyindex{partial} @var{duration} @code{;}
922 This creates an incomplete measure (anacrusis, upbeat) at the start of
923 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
924 lasting two eighth notes.
928 @code{|}@indexcode{|}
933 @cindex shorten measures
937 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
938 interpretation, a warning message is issued if it doesn't fall at a
939 measure boundary. This can help you finding errors in the input.
940 The beginning of the measure will be relocated, so this can also
941 be used to shorten measures.
946 \penalty@keyindex{penalty} @var{int} @code{;}
949 Discourage or encourage line breaks. See identifiers
950 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
951 section [on identifiers] [FIXME].
955 \clef@keyindex{clef} @var{clefname} @code{;}
958 Music expression that sets the current clef. The argument is a
959 string which specifies the name of the clef. Several clef names are
960 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
961 name, then the clef lowered or raised an octave will be generated.
962 Here are the supported clef names with middle C shown in each
971 %\property Voice.textStyle = typewriter
972 \clef subbass; c'4-"\kern -5mm subbass"
973 \clef bass; c'4^"\kern -2mm bass"
974 \clef baritone; c'4_"\kern -5mm baritone"
975 \clef varbaritone; c'4^"\kern -6mm varbaritone"
976 \clef tenor; c'4_"\kern -3mm tenor"
977 \clef "G_8"; c'4^"\kern -2mm G\\_8"
992 \clef alto; c'4_"\kern -2mm alto"
993 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
994 \clef soprano; c'4_"\kern -6mm soprano"
995 \clef treble; c'4^"\kern -4mm treble"
996 \clef french; c'4_"\kern -4mm french"
1005 The three clef symbols can also be obtained using the names `@code{G}',
1006 `@code{C}' or `@code{F}', optionally followed by an integer which
1007 indicates at which note line the clef is located. An as example, the
1008 @code{mezzosoprano} clef can also be given as `@code{C2}'.
1012 \skip@keyindex{skip} @var{duration} @code{;}
1015 Skips the amount of time specified by @var{duration}. If no other
1016 music is played, a gap will be left for the skipped time with no
1017 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1018 this has the same effect as the space rest `@code{s}'.
1023 @node Manual beams, , , Reference Manual
1025 A beam is specified by surrounding the beamed notes with brackets
1026 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1028 @mudela[fragment,verbatim,center]
1029 [a'8 a'] [a'16 a' a' a']
1032 Some more elaborate constructions:
1034 @mudela[fragment,verbatim,center]
1035 [a'16 <a' c''> c'' <a' c''>]
1036 \times 2/3 { [e'8 f' g'] }
1039 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1043 To place tremolo marks
1044 @cindex tremolo beams
1045 between two notes, begin
1046 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1047 will appear instead of beams. Putting more than two notes in such a
1048 construction will produce odd effects. To create tremolo beams on a
1049 single note, simply attach `@code{:}@var{length}' to the note itself
1050 (see also section XREF-tremolo [FIXME]).
1053 @mu dela[fragment,verbatim,center]
1054 [:16 e'1 g'] [:8 e'4 f']
1057 @mud ela[fragment,verbatim,center]
1058 c'4:32 [:16 c'8 d'8]
1062 @cindex --@@@code{-}@code{-}
1070 The syntax for an extender mark is `@code{__}'. This syntax can only
1071 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1072 a hyphen that will be printed between two lyric syllables) is
1078 A tie connects two adjacent note heads of the same pitch. When used
1079 with chords, it connects all of the note heads whose pitches match.
1080 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1081 If you try to tie together chords which have no common pitches, a
1082 warning message will appear and no ties will be created.
1084 @mudela[fragment,verbatim,center]
1085 e' ~ e' <c' e' g'> ~ <c' e' g'>
1090 [TODO: explain Requests]
1093 @cindex articulations
1099 A variety of symbols can appear above and below notes to indicate
1100 different characteristics of the performance. These symbols can be
1101 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1102 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1103 forced to appear above or below the note by writing
1104 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1105 respectively. Here is a chart showing symbols above notes, with the
1106 name of the corresponding symbol appearing underneath.
1112 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1113 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1114 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1115 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1116 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1117 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1118 c''-\thumb c''-\segno c''-\coda
1120 \context Lyrics \lyrics {
1121 accent__ marcato__ staccatissimo__ fermata
1122 stopped__ staccato__ tenuto__ upbow
1123 downbow__ lheel__ rheel__ ltoe
1124 rtoe__ turn__ open__ flageolet
1125 reverseturn__ trill__ prall__ mordent
1126 prallprall__ prallmordent__ uprall__ downprall
1127 thumb__ segno__ coda
1131 linewidth = 5.875\in;
1138 In addition, it is possible to place arbitrary strings of text or
1139 TeX above or below notes by using a string instead of an
1140 identifier: `@code{c^"text"}'. Fingerings
1143 placed by simply using digits. All of these note ornaments appear in
1144 the printed output but have no effect on the MIDI rendering of the
1147 To save typing, fingering instructions (digits 0 to 9 are
1148 supported) and single characters shorthands exist for a few
1155 \property Voice.textStyle = typewriter
1161 c''4-^_"c-\\^{ }" s4
1168 linewidth = 5.875 \in;
1175 Dynamic marks are specified by using an identifier after a note:
1176 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1177 The available dynamic marks are:
1178 @code{\ppp}@keyindex{ppp},
1179 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1180 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1181 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1182 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1183 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1184 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1185 @code{\rfz}@keyindex{rfz}.
1190 \textscript@keyindex{textscript} @var{text} @var{style}
1193 Defines a text to be printed over or under a note. @var{style} is a
1194 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1195 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1197 You can attach a general textscript request using this syntax:
1202 c4-\textscript "6" "finger"
1203 c4-\textscript "foo" "normal"
1208 This is equivalent to `@code{c4-6 c4-"foo"}'.
1215 \script@keyindex{script} @var{alias}
1218 Prints a symbol above or below a note. The argument is a string
1219 which points into the script-alias table defined in @file{script.scm}.
1220 The scheme definitions specify whether the symbol follows notes into
1221 the staff, dependence of symbol placement on staff direction, and a
1222 priority for placing several symbols over one note. Usually the
1223 @code{\script}@keyindex{script} keyword is not used directly. Various
1224 helpful identifier definitions appear in @file{script.ly}.
1229 Slurs connects chords and try to avoid crossing stems. A slur is
1230 started with `@code{(}' and stopped with `@code{)}'. The
1231 starting `@code{(}' appears to the right of the first note in
1232 the slur. The terminal `@code{)}' appears to the left of the
1233 first note in the slur. This makes it possible to put a note in
1234 slurs from both sides:
1236 @mudela[fragment,verbatim,center]
1237 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1243 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1244 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1245 @code{\decr}@keyindex{decr} and terminated with
1246 @code{\rced}@keyindex{rced}. There are also shorthands for these
1247 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1248 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1249 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1250 must go before the last note of the dynamic mark whereas @code{\rc}
1251 and @code{\rced} go after the last note. Because these marks are
1252 bound to notes, if you want to get several marks during one note, you
1253 must use spacer notes.
1255 @mudela[fragment,verbatim,center]
1256 c'' \< \! c'' d'' \decr e'' \rced
1257 < f''1 { s4 \< \! s2 \> \! s4 } >
1263 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1266 Define a spanning request. The @var{startstop} parameter is either -1
1267 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1268 @var{type} is a string that describes what should be started.
1269 Supported types are @code{crescendo}, @code{decrescendo},
1270 @code{beam}, @code{slur}. This is an internal command. Users should
1271 use the shorthands which are defined in the initialization file
1274 You can attach a (general) span request to a note using
1276 @mudela[fragment,verbatim,center]
1277 c'4-\spanrequest \start "slur"
1278 c'4-\spanrequest \stop "slur"
1281 The slur syntax with parentheses is a shorthand for this.
1285 @cindex tremolo marks
1287 @node stem tremolo, , , Reference Manual
1289 Tremolo marks can be printed on a single note by adding
1290 `@code{:}[@var{length}]' after the note. The length must be at
1291 least 8. A @var{length} value of 8 gives one line across
1292 the note stem. If the length is omitted, then the last value is
1293 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1296 @mudela[verbatim,fragment,center]
1302 @node Compound music expressions, , , Reference Manual
1303 @section Compound music expressions
1305 @cindex compound music expressions
1307 Music expressions are compound data structures. You can nest music
1308 expressions any way you like. This simple example shows how three
1309 chords can be expressed in two different ways:
1311 @mudela[fragment,verbatim,center]
1312 \notes \context Staff {
1314 <a c'> <b d' > <c' e'>
1315 < { a b c' } { c' d' e' } >
1319 @cindex context selection
1320 @c @keyindex{context}
1323 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1326 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1327 If the context does not exist, it will be created. The new context
1328 can optionally be given a name. See
1329 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1330 information on interpretation contexts.
1338 Mode switching keywords form compound music expressions: @code{\notes}
1339 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1340 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1341 These expressions do not add anything to the meaning of their
1342 arguments. They are just a way to indicate that the arguments should
1343 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1344 information on modes.
1346 More information on context selection can be found in
1347 section XREF-contextselection [FIXME].
1351 @cindex sequential music
1357 \sequential@keyindex{sequential}
1358 @code{@{} @var{musicexprlist} @code{@}}
1361 This means that list should be played or written in sequence, i.e.,
1362 the second after the first, the third after the second. The duration
1363 of sequential music is the the sum of the durations of the elements.
1364 There is a shorthand, which leaves out the keyword:
1368 @code{@{} @var{musicexprlist} @code{@}}
1373 @cindex simultaneous music
1380 \simultaneous@keyindex{simultaneous}
1381 @code{@{} @var{musicexprlist} @code{@}}
1384 It constructs a music expression where all of its arguments start at
1385 the same moment. The duration is the maximum of the durations of the
1386 elements. The following shorthand is a common idiom:
1390 @code{<} @var{musicexprlist} @code{>}
1393 If you try to use a chord as the first thing in your score, you might
1394 get multiple staffs instead of a chord.
1396 @mudela[verbatim,center]
1405 This happens because the chord is interpreted by a score context.
1406 Each time a note is encountered a default Voice context (along with a
1407 Staff context) is created. The solution is to explicitly instantiate
1410 @mudela[verbatim,center]
1412 \notes\context Voice <c''4 e''>
1421 @cindex relative pitch specification
1423 @node relative, , , Reference Manual
1425 It is easy to get confused by octave changing marks and accidentally
1426 putting a pitch in the wrong octave. A much better way of entering a
1427 note's octave is `the relative octave' mode.
1431 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1434 The octave of notes that appear in @var{musicexpr} are calculated as
1435 follows: If no octave changing marks are used, the basic interval
1436 between this and the last note is always taken to be a fourth or
1437 less.@footnote{The interval is determined without regarding
1438 accidentals. A @code{fisis} following a @code{ceses} will be put above
1439 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1440 can then be added to raise or lower the pitch by an extra octave.
1441 Upon entering relative mode, an absolute starting pitch must be
1442 specified that will act as the predecessor of the first note of
1445 Entering scales is straightforward in relative mode.
1447 @mudela[fragment,verbatim,center]
1453 And octave changing marks are used for intervals greater than a fourth.
1455 @mudela[fragment,verbatim,center]
1457 c g c f, c' a, e'' }
1460 If the preceding item is a chord, the first note of the chord is used
1461 to determine the first note of the next chord. But other notes
1462 within the second chord are determined by looking at the immediately
1465 @mudela[fragment,verbatim,center]
1473 The pitch after the @code{\relative} contains a notename. To parse
1474 the pitch as a notename, you have to be in note mode, so there must
1475 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1478 The relative conversion will not affect @code{\transpose} or
1479 @code{\relative} sections in its argument. If you want to use
1480 relative within transposed music, you must place an additional
1481 @code{\relative} inside the @code{\transpose}.
1483 It is strongly recommended to use relative pitch mode: less work,
1484 less error-prone, and more readable.
1488 Chord names are a way to generate simultaneous music expressions that
1489 correspond with traditional chord names. It can only be used in
1490 Chord mode (see section XREF-modes [FIXME]).
1494 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1497 @var{tonic} should be the tonic note of the chord, and @var{duration}
1498 is the chord duration in the usual notation. There are two kinds of
1499 modifiers. One type is @emph{chord additions}, which are obtained by
1500 listing intervals separated by dots. An interval is written by its
1501 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1502 lowering by half a step. Chord additions has two effects: It adds
1503 the specified interval and all lower odd numbered intervals to the
1504 chord, and it may lower or raise the specified interval. Intervals
1505 must be separated by a dot (`@code{.}').
1509 @mudela[fragment,verbatim]
1513 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1520 The second type of modifier that may appear after the `@code{:}' is a
1521 named modifier. Named modifiers are listed in the file
1522 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1523 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1524 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1525 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1526 which replaces the 5th with a 4th.
1530 @mudela[fragment,verbatim]
1533 c1:m c:min7 c:maj c:aug c:dim c:sus
1541 Chord subtractions are used to eliminate notes from a chord. The
1542 notes to be subtracted are listed after a `@code{^}' character,
1545 @mudela[fragment,verbatim,center]
1553 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1554 the name of a single note to a chord. This has the effect of
1555 lowering the specified note by an octave so it becomes the lowest
1556 note in the chord. If the specified note is not in the chord, a
1557 warning will be printed.
1559 @mudela[fragment,verbatim,center]
1568 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1569 the name of a single note to a chord. This has the effect of
1570 adding the specified note to the chord, lowered by an octave,
1571 so it becomes the lowest note in the chord.
1573 @mudela[fragment,verbatim,center]
1582 Throughout these examples, chords have been shifted around the staff
1583 using @code{\transpose}.
1585 You should not combine @code{\relative} with named chords.
1591 Tuplets are made out of a music expression by multiplying their
1592 duration with a fraction.
1596 \times@keyindex{times} @var{fraction} @var{musicexpr}
1599 The duration of @var{musicexpr} will be multiplied by the fraction.
1600 In print, the fraction's denominator will be printed over the notes,
1601 optionally with a bracket. The most common tuplet is the triplet in
1602 which 3 notes have the length of 2, so the notes are 2/3 of
1603 their written length:
1605 @mudela[fragment,verbatim,center]
1606 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1615 \grace@keyindex{grace} @var{musicexpr}
1618 A grace note expression has duration 0; the next real note is
1619 assumed to be the main note.
1621 You cannot have the grace note after the main note, in terms of
1622 duration, and main notes, but you can typeset the grace notes to the
1623 right of the main note using the property
1624 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1626 When grace music is interpreted, a score-within-a-score is set up:
1627 @var{musicexpr} has its own time bookkeeping, and you could (for
1628 example) have a separate time signature within grace notes. While in
1629 this score-within-a-score, you can create notes, beams, slurs, etc.
1630 Unbeamed eighth notes and shorter by default have a slash through the
1631 stem. This behavior can be controlled with the
1632 @code{stemStyle}@indexcode{stemStyle} property.
1636 @mudela[fragment,verbatim]
1638 \grace c8 c4 \grace { [c16 c16] } c4
1639 \grace { \property Grace.stemStyle = "" c16 } c4
1645 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1649 @code{\grace @{ \grace c32 c16 @} c4}
1652 may result in run-time errors of LilyPond. Since the meaning of such
1653 a construct is unclear, we don't consider this a loss. Similarly,
1654 juxtaposing two @code{\grace} sections is syntactically valid, but
1655 makes no sense and may cause runtime errors.
1657 Ending a staff or score with grace notes may also generate a run-time
1658 error, since there will be no main note to attach the grace notes to.
1664 @node Repeats, , , Reference Manual
1666 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1667 keyword. Since repeats look and sound differently when played or
1668 printed, there are a few different variants of repeats.
1672 Repeated music is fully written (played) out. Useful for MIDI
1676 This is the normal notation: Repeats are not written out, but
1677 alternative endings (voltas) are printed, left to right.
1680 Alternative endings are written stacked, which is useful for
1684 The syntax for repeats is
1688 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1691 If you have alternative endings, you may add
1695 \alternative@keyindex{alternative}
1696 @code{@{} @var{alternative1}
1698 @var{alternative3} @dots{} @code{@}}
1701 where each @var{alternative} is a Music expression.
1703 Normal notation repeats are used like this:
1707 @mudela[fragment,verbatim]
1709 \repeat volta 2 { c'4 d' e' f' }
1710 \repeat volta 2 { f' e' d' c' }
1715 With alternative endings:
1719 @mudela[fragment,verbatim]
1721 \repeat volta 2 {c'4 d' e' f'}
1722 \alternative { {d'2 d'} {f' f} }
1727 Folded repeats look like this:@footnote{Folded repeats offer little
1728 more over simultaneous music. However, it is to be expected that
1729 more functionality -- especially for the MIDI backend -- will be
1734 @mudela[fragment,verbatim]
1736 \repeat fold 2 {c'4 d' e' f'}
1737 \alternative { {d'2 d'} {f' f} }
1744 @mudela[fragment,verbatim]
1748 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1749 \alternative { { g4 g g } { a | a a a a | b1 } }
1756 If you don't give enough alternatives for all of the repeats, then
1757 the first alternative is assumed to be repeated often enough to equal
1758 the specified number of repeats.
1762 @mudela[fragment,verbatim]
1765 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1766 \alternative { { g4 g g }
1767 {\partial 1; e4 e e }
1768 {\partial 1; a a a a | b1 } }
1775 It is possible to nest @code{\repeat}. This is not entirely
1776 supported: the notes will come be in the right places, but the repeat
1781 @cindex transposition of pitches
1783 @node transpose, , , Reference Manual
1785 A music expression can be transposed with
1786 @code{\transpose}@keyindex{transpose}. The syntax is
1790 \transpose @var{pitch} @var{musicexpr}
1793 This means that middle C in @var{musicexpr} is transposed to
1796 @code{\transpose} distinguishes between enharmonic pitches: both
1797 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1798 a tone. The first version will print sharps and the second version
1803 @mudela[fragment,verbatim]
1808 \transpose des'' { \key e; c d e f }
1809 \transpose cis'' { \key e; c d e f }
1815 If you want to use both @code{\transpose} and @code{\relative}, then
1816 you must use @code{\transpose} first. @code{\relative} will have no
1817 effect music that appears inside a @code{\transpose}.
1821 @cindex automatic lyric durations
1823 If you have lyrics that are set to a melody, you can import the
1824 rhythm of that melody into the lyrics using @code{\addlyrics}.
1825 @keyindex{addlyrics} The syntax for this is
1829 \addlyrics @var{musicexpr1 musicexpr2}
1832 This means that both @var{musicexpr1} and @var{musicexpr2} are
1833 interpreted, but that every non-command atomic music expression
1834 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1835 of @var{musicexpr1}.
1837 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1838 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1843 @mudela[verbatim,fragment]
1846 \property Voice.automaticMelismata = "1"
1847 c8 () cis d8. e16 f2
1849 \context Lyrics \lyrics {
1855 You should use a single rhythm melody, and single rhythm lyrics (a
1856 constant duration is the obvious choice). If you do not, you will get
1857 undesired effects when using multiple stanzas:
1861 @mudela[verbatim,fragment]
1864 c8 () cis d8. e16 f2
1866 \context Lyrics \lyrics
1873 It is valid (but probably not very useful) to use notes instead of
1874 lyrics for @var{musicexpr2}.
1879 @node Ambiguities, , , Reference Manual
1880 @section Ambiguities
1884 The grammar contains a number of ambiguities.@footnote{The authors
1885 hope to resolve them at a later time.}
1888 @item The assignment
1894 can be interpreted as making a string identifier @code{\foo}
1895 containing @code{"bar"}, or a music identifier @code{\foo}
1896 containing the syllable `bar'.
1898 @item The assignment
1904 can be interpreted as making an integer identifier
1905 containing -6, or a Request identifier containing the
1906 fingering `6' (with neutral direction).
1908 @item If you do a nested repeat like
1920 then it is ambiguous to which @code{\repeat} the
1921 @code{\alternative} belongs. This is the classic if-then-else
1922 dilemma. It may be solved by using braces.
1924 @item (an as yet unidentified ambiguity :-)
1929 @node Notation conversion specifics, , , Reference Manual
1930 @section Notation conversion specifics
1934 @cindex automatic beam generation
1936 @node autobeam, , , Reference Manual
1938 By default, LilyPond will generate beams automatically. This feature
1939 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1940 property to 1. It can be overridden for specific cases by
1941 specifying explicit beams as described in
1942 section XREF-manualbeam [FIXME].
1944 A large number of Voice properties are used to decide how to generate
1945 beams. Their default values appear in @file{auto-beam-settings.ly}.
1946 In general, beams can begin anywhere, but their ending location is
1947 significant. Beams can end on a beat, or at durations specified by
1948 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1949 quarter note, for example, you could set
1950 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1951 at every three eighth notes you would set it to `@code{"3/8"}'. The
1952 same syntax can be used to specify beam starting points using
1953 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1955 To allow different settings for different time signatures, these
1956 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1957 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1958 to specify beams ending only for 6/8 time you would use the
1959 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1960 for notes of different durations, the duration can be tacked onto the
1961 end of the property. To specify beam endings for beams that contain
1962 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1970 @cindex printing!chord names
1972 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1973 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1974 either using the notation described above, or directly using
1979 @mudela[fragment,verbatim]
1981 \context ChordNames {
1982 \chords{a b c} \notes{<d f g> <e g b>}
1984 \context Staff \notes {
1992 LilyPond examines chords specified as lists of notes to determine a
1993 name to give the chord. By default, LilyPond will not try to
1994 identify chord inversions:
1996 @mudela[fragment,verbatim,center]
1998 \context ChordNameVoice \notes {
2001 \context Thread \notes {
2007 If you want inversions to be recognized, you must set the property
2008 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
2010 @mudela[fragment,verbatim,center]
2012 \property Score.chordInversion = 1
2013 \context ChordNameVoice \notes {
2016 \context Thread \notes {
2026 @cindex printing!lyrics
2028 @node lyricprint, , , Reference Manual
2030 Lyric syllables must be interpreted within a @code{Lyrics} context
2032 @cindex context!Lyrics
2035 Here is a full example:
2042 \notes \transpose c'' {
2044 e f g2 | e4 f g2 \bar "|.";
2046 \context Lyrics \lyrics {
2047 Va-4 der Ja- cob Va- der Ja- cob
2048 Slaapt gij nog?2 Slaapt4 gij nog?2
2056 You may want a continuous line after the syllables to show melismata.
2057 To achieve this effect, add a `@code{__}' lyric as a separate word
2058 after the lyric to be extended. This will create an extender, a line
2059 that extends over the entire duration of the lyric. This line will
2060 run all the way to the start of the next lyric, so you may want to
2061 shorten it by using a blank lyric (using `@code{_}').
2068 \notes \relative c'' {
2069 a4 () b () c () d | c () d () b () a | c () d () b () a
2071 \context Lyrics \lyrics {
2072 foo1 __ | bar2. __ _4 | baz1 __
2081 If you want to have hyphens centered between syllables (rather than
2082 attached to the end of the first syllable) you can use the special
2083 `@code{-}@code{-}' lyric as a separate word between syllables. This
2084 will result in a hyphen which length varies depending on the space
2085 between syllables, and which will be centered between the syllables.
2093 \notes \transpose c'' {
2095 e f g2 | e4 f g2 \bar "|.";
2097 \context Lyrics \lyrics {
2098 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2099 Slaapt gij nog?2 | Slaapt4 gij nog?2
2109 @node Notation Contexts, , , Reference Manual
2110 @section Notation Contexts
2112 @cindex notation contexts
2114 Notation contexts are objects that only exist during a run of
2115 LilyPond. During the interpretation phase of LilyPond, the Music
2116 expression contained in a @code{\score} block is interpreted in time
2117 order. This is the order in which humans read, play, and write
2120 A context is an object that holds the reading state of the
2121 expression; it contains information like
2124 @item What notes are playing at this point?
2125 @item What symbols will be printed at this point?
2126 @item In what style will they printed?
2127 @item What is the current key signature, time signature, point within
2131 Contexts are grouped hierarchically: A @code{Voice} context is
2132 contained in a @code{Staff} context (because a staff can contain
2133 multiple voices at any point), a @code{Staff} context is contained in
2134 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2135 these can all contain multiple staffs).
2137 Contexts associated with sheet music output are called @emph{notation
2138 contexts}, those for sound output are called playing contexts.
2140 Contexts are created either manually or automatically. Initially,
2141 the top level music expression is interpreted by the top level
2142 context (the @code{Score} context). When a atomic music expression
2143 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2144 set of contexts is created that can process these atomic expressions,
2150 \score @{ \notes < c4 > @}
2155 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2156 context. When the note `@code{c4}' itself is interpreted, a set of
2157 contexts is needed that will accept notes. The default for this is a
2158 @code{Voice} context, contained in a @code{Staff} context. Creation of
2159 these contexts results in the staff being printed.
2164 You can also create contexts manually, and you probably have to do so
2165 if you want to typeset complicated multiple part material. If a
2166 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2167 during the interpretation phase, the @var{musicexpr} argument will be
2168 interpreted with a context of type @var{name}. If you specify a name,
2169 the specific context with that name is searched.
2171 If a context of the specified type and name can not be found, a new
2172 one is created. For example,
2178 \notes \relative c'' {
2179 c4 <d4 \context Staff = "another" e4> f
2186 In this example, the @code{c} and @code{d} are printed on the
2187 default staff. For the @code{e}, a context Staff called
2188 `@code{another}' is specified; since that does not exist, a new
2189 context is created. Within @code{another}, a (default) Voice context
2190 is created for the @code{e4}. When all music referring to a
2191 context is finished, the context is ended as well. So after the
2192 third quarter, @code{another} is removed.
2194 Almost all music expressions inherit their interpretation context
2195 from their parent. In other words, suppose that the syntax for a
2200 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2203 When the interpretation of this music expression starts, the context
2204 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2207 Lastly, you may wonder, why this:
2213 \notes \relative c'' @{
2221 doesn't result in this:
2226 \notes \relative c'' {
2233 For the @code{c4}, a default @code{Staff} (with a contained
2234 @code{Voice}) context is created. After the @code{c4} ends, no
2235 music refers to this default staff, so it would be ended, with the
2236 result shown. To prevent this inconvenient behavior, the context to
2237 which the sequential music refers is adjusted during the
2238 interpretation. So after the @code{c4} ends, the context of the
2239 sequential music is also the default @code{Voice} context.
2240 The @code{d4} gets interpreted in the same context
2245 These are the contexts supplied with the package. They are defined
2246 in the initialization file @file{ly/engraver.ly}.
2249 @item @code{Grace}@indexcode{Grace}
2250 The context for handling grace notes. It is instantiated
2251 automatically when you use @code{\grace}. Basically, it is an
2252 `embedded' miniature of the Score context. Since this context
2253 needs special interaction with the rest of LilyPond, you should
2254 not explicitly instantiate it.
2256 @item @code{LyricVoice}@indexcode{LyricVoice}
2257 Corresponds to a voice with lyrics. Handles the printing of a
2258 single line of lyrics.
2260 @item @code{Thread}@indexcode{Thread}
2261 Handles note heads, and is contained in the Voice context. You
2262 have to instantiate this explicitly if you want to adjust the
2263 style of individual note heads.
2265 @item @code{Voice}@indexcode{Voice}
2266 Corresponds to a voice on a staff. This context handles the
2267 conversion of dynamic signs, stems, beams, super- and subscripts,
2268 slurs, ties, and rests.
2270 You have to instantiate this explicitly if you want to have
2271 multiple voices on the same staff.
2273 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2274 A voice with chord names. Handles printing of a line of chord
2277 @item @code{ChordNames}@indexcode{ChordNames}
2278 Typesets chord names. Can contain @code{ChordNamesVoice}
2281 @item @code{Lyrics}@indexcode{Lyrics}
2282 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2284 @item @code{Staff}@indexcode{Staff}
2285 Handles clefs, bar lines, keys, accidentals. It can contain
2286 @code{Voice} contexts.
2288 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2289 A context like @code{Staff} but for printing rhythms. Pitches are
2290 ignored; the notes are printed on one line. It can contain
2291 @code{Voice} contexts.
2293 @item @code{GrandStaff}@indexcode{GrandStaff}
2294 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2295 brace on the left side, grouping the staffs together. The bar
2296 lines of the contained staffs are connected vertically. It can
2297 contain @code{Staff} contexts.
2299 @item @code{PianoStaff}@indexcode{PianoStaff}
2300 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2301 equal to @code{maxVerticalAlign} so that interstaff beaming and
2302 slurring can be used.
2304 @item @code{StaffGroup}@indexcode{StaffGroup}
2305 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2306 bracket on the left side, grouping the staffs together. The bar
2307 lines of the contained staffs are connected vertically. It can
2308 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2309 @code{Lyrics} contexts.
2311 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2312 Identical to @code{StaffGroup} except that the contained staffs
2313 are not connected vertically.
2315 @item @code{Score}@indexcode{Score}
2316 This is the top level notation context. No other context can
2317 contain a @code{Score} context. This context handles the
2318 administration of time signatures. It also makes sure that items
2319 such as clefs, time signatures, and key-signatures are aligned
2320 across staffs. It can contain @code{Lyrics}, @code{Staff},
2321 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2322 @code{ChoirStaff} contexts.
2324 You cannot explicitly instantiate a Score context (since it is
2325 not contained in any other context). It is instantiated
2326 automatically when an output definition (a @code{\score} or
2327 @code{\paper} block) is processed.
2332 Properties that are set in one context are inherited by all of the
2333 contained contexts. This means that a property valid for the
2334 @code{Voice} context can be set in the @code{Score} context (for
2335 example) and thus take effect in all @code{Voice} contexts.
2337 Properties can be preset within the @code{\translator} block
2338 corresponding to the appropriate context. In this case, the syntax
2343 @var{propname} @code{=} @var{value}
2346 This assignment happens before interpretation starts, so a
2347 @code{\property} expression will override any predefined settings.
2349 The @code{\property} expression will create any property you specify.
2350 There is no guarantee that a property will be used. So if you spell
2351 a property name wrong, there will be no error message.
2353 The property settings are used during the interpretation phase. They
2354 are read by the LilyPond modules where interpretation contexts are
2355 built of. These modules are called @emph{translators}. Translators for
2356 notation are called @emph{engravers}, and translators for sound are
2357 called @emph{performers}.
2359 The precise result of a property is determined by the implementation
2360 of the translator that reads them. Therefore, the result of a
2361 property can vary, since it is implementation and configuration
2364 In order to fully find out what properties are used, you must
2365 currently search the source code for calls to @code{get_property}.
2366 The rest of the section is devoted to an (incomplete) overview of
2367 available properties.
2369 @mbinclude properties.itely
2371 @node Notation output definitions, , , Reference Manual
2372 @section Notation output definitions
2376 @cindex notation output
2378 @cindex output definition
2380 @node paper, , , Reference Manual
2382 The most important output definition is the @code{\paper} block, for
2383 music notation. The syntax is
2387 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2390 where each of the items is one of
2393 @item An assignment. The assignment must be terminated by a
2394 semicolon. See section XREF-papervars [FIXME] for information on
2397 @item A context definition. See section XREF-contextdefs [FIXME] for
2398 more information on context definitions.
2403 A margin shape declaration. The syntax is
2407 \shape @var{indent1}@code{,} @var{width1}@code{,}
2408 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2413 Each pair of @var{indent} and @var{width} values is a dimension
2414 specifying how far to indent and how wide to make the line.
2415 The indentation and width of successive lines are specified by
2416 the successive pairs of dimensions. The last pair of
2417 dimensions will define the characeristics of all lines beyond
2418 those explicitly specified.
2420 @item A font declaration. Its syntax is
2424 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2427 @var{fontsize} is an integer describing the font to be used.
2428 0 is the default font. @var{fontname} is the basename of
2429 a font (usually a member of the Feta family).
2434 @cindex changing font size and paper size
2436 The Feta font provides musical symbols at six different sizes. These
2437 fonts are 11 point, 13 point, 16 point, 20 point,
2438 23 point, and 26 point. The point size of a font is the
2439 height of the five lines in a staff when displayed in the font.
2441 Definitions for these sizes are the files @file{paperSZ.ly}, where
2442 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2443 any of these files, the identifiers @code{paper_eleven},
2444 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2445 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2446 respectively. The default @code{\paper} block is also set.
2448 To change the paper size, you must first set the
2449 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2450 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2451 you must set the font as described above. If you want the default
2452 font, then use the 20 point font. The new paper size will not
2453 take effect if the font is not loaded and selected afterwards. Paper
2454 size selection works by loading a file named after the paper size you
2459 @cindex paper variables
2461 @node Paper variables, , , Reference Manual
2463 There is a large number of paper variables that are used to control
2464 details of the layout. These variables control the defaults for the
2465 entire score. Usually, they do not have to be changed; they are by
2466 default set to values that depend on the font size in use. The
2467 values are used by the graphic objects while formatting the score;
2468 they are therefore implementation dependent. Most variables are
2469 accompanied by documentation in the initalization file
2470 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2473 Nevertheless, here are some variables you may want to use or change:
2476 @item @code{indent}@indexcode{indent}
2477 The indentation of the first line of music.
2479 @item @code{interline}@indexcode{interline}
2480 The distance between two staff lines, calculated from the center
2481 of the lines. You should use either this or @code{rulethickness}
2482 as a unit for distances you modify.
2484 @item @code{linewidth}@indexcode{linewidth}
2485 Sets the width of the lines. If set to -1.0, a single
2486 unjustified line is produced.
2488 @item @code{output}@indexcode{output}
2489 Specifies an alternate name for the the output @file{s}.
2490 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2491 added to the string you specify.
2493 @item @code{rulethickness}@indexcode{rulethickness}
2494 Determines the thickness of staff and bar lines.
2498 @node contextdefs, , , Reference Manual
2500 @cindex context definition
2502 A notation contexts is defined by the following information
2507 @item The LilyPond modules that do the actual conversion of music to
2508 notation. Each module is a so-called
2513 @item How these modules should cooperate, i.e. which ``cooperation
2514 module'' should be used. This cooperation module is a special
2517 @item What other contexts the context can contain,
2519 @item What properties are defined.
2522 A context definition has this syntax:
2526 \translator @code{@{}
2527 @var{translatorinit} @var{translatormodifierlist}
2531 @var{translatorinit} can be an identifier or of the form
2535 \type @var{typename} @code{;}
2538 @var{typename} is one of
2541 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2542 The standard cooperation engraver.
2544 @item @code{Score_engraver}@indexcode{Score_engraver}
2545 This is cooperation module that should be in the top level context.
2547 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2548 This is a special cooperation module (resembling
2549 @code{Score_engraver}) that is used to created an embedded
2553 @var{translatormodifierlist} is a list of items where each item is
2557 @item @code{\consists} @var{engravername} @code{;}
2558 Add @var{engravername} to the list of modules in this context.
2559 Section XREF-engravers [FIXME] contains an overview of the engravers
2560 available. The order of engravers added with @code{\consists} is
2563 @item @code{\consistsend} @var{engravername} @code{;}
2564 Analogous to @code{\consists}, but makes sure that
2565 @var{engravername} is always added to the end of the list of
2568 Some engraver types need to be at the end of the list; this
2569 insures they are put there, and stay there, if a user adds or
2570 removes engravers. This command is usually not needed for
2573 @item @code{\accepts} @var{contextname} @code{;}
2574 Add @var{contextname} to the list of context this context can
2575 contain. The first listed context the context to create by
2578 @item @code{\remove} @var{engravername} @code{;}
2579 Remove a previously added (with @code{\consists}) engraver.
2581 @item @code{\name} @var{contextname} @code{;}
2582 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2583 the name is not specified, the translator won't do anything.
2585 @item @var{propname} @code{=} @var{value} @code{;}
2586 A property assignment. It is allowed to use reals for
2590 In the @code{\paper} block, it is also possible to define translator
2591 identifiers. Like other block identifiers, the identifier can only
2592 be used as the very first item of a translator. In order to define
2593 such an identifier outside of @code{\score}, you must do
2599 foo = \translator @{ @dots{} @}
2606 \translator @{ \foo @dots{} @}
2614 @cindex paper types, engravers, and pre-defined translators
2616 Some pre-defined identifiers can simplify modification of
2617 translators. The pre-defined identifiers are:
2620 @item @code{StaffContext}@indexcode{StaffContext}
2621 Default Staff context.
2623 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2624 Default RhythmicStaff context.
2626 @item @code{VoiceContext}@indexcode{VoiceContext}
2627 Default Voice context.
2629 @item @code{ScoreContext}@indexcode{ScoreContext}
2630 Default Score context.
2632 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2633 Score context with numbering at the Score level.
2635 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2636 Staff context with numbering at the Staff level.
2638 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2639 Staff context that does not print if it only contains rests.
2640 Useful for orchestral scores.@footnote{Harakiri, also called
2641 Seppuku, is the ritual suicide of the Samourai.}
2643 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2645 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2648 Using these pre-defined values, you can remove or add items to the
2657 \remove Some_engraver;
2658 \consists Different_engraver;
2667 @node engravers, , , Reference Manual
2669 The engravers for paper output are:
2674 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2675 Engraves bar lines. Normally in @code{Staff} and
2676 @code{RhythmicStaff}.
2678 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2679 Engrave bar numbers. These numbers appear at the start of each
2680 line. Not normally in any translator. Can be added to
2681 @code{Score} for score-wide numbering or to @code{Staff} for
2682 numbering on each staff.
2684 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2685 Handles beam requests by engraving beams. Normally appears in
2686 the @code{Voice} translator. If omitted, then notes will be
2687 printed with flags instead of beams.
2689 @item @code{Beam_req_swallow_translator}
2690 @indexcode{Beam_req_swallow_translator}
2691 Swallows beam requests. In @code{LyricVoice}.
2693 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2694 Engraves chord names. Normally in @code{ChordNameVoice} .
2696 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2698 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2699 Engraves the clef symbol. Normally in @code{Staff}.
2701 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2703 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2704 Engraves dots on dotted notes shifted to the right of the note.
2705 Normally in @code{Voice}. If omitted, then dots appear on top of
2708 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2709 Engraves dynamics symbols. Normally in @code{Voice}.
2711 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2713 @item @code{Key_engraver}@indexcode{Key_engraver}
2714 Engraves the key signature. Normally in @code{Staff}.
2716 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2718 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2719 Engraves lyrics. Normally in @code{LyricVoice}.
2721 @item @code{Multi_measure_rest_engraver}
2722 @indexcode{Multi_measure_rest_engraver}
2723 Engraves multi-measure rests that are produced with @code{R}.
2724 Normally in @code{Voice}.
2726 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2728 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2729 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2730 Note that the notes move, but the locations of accidentals stay
2733 @item @code{Priority_horizontal_align_engraver}
2734 @indexcode{Priority_horizontal_align_engraver}
2736 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2737 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2739 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2740 Handles collisions of rests. In @code{Staff}.
2742 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2743 Engraves rests. Normally in @code{Voice}.
2745 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2747 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2749 @item @code{Script_engraver}@indexcode{Script_engraver}
2750 Handles note ornaments generated by @code{\script}. Normally in
2753 @item @code{Separating_line_group_engraver}
2754 @indexcode{Separating_line_group_engraver}
2756 @item @code{Skip_req_swallow_translator}
2757 @indexcode{Skip_req_swallow_translator}
2759 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2760 Engraves slurs. Normally in @code{Voice}.
2762 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2763 Engraves lines across multiple staffs. Normally in
2764 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2765 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2767 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2769 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2771 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2772 Prints the name of the instrument (specified by
2773 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2776 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2778 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2779 Engraves stems. Normally in @code{Voice}.
2781 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2782 Engraves ties. Normally in @code{Voice}.
2784 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2785 Engraves the time signature. Normally in @code{Staff} and
2786 @code{RhythmicStaff}.
2788 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2789 Responsible for synchronizing timing information from staffs.
2790 Normally in @code{Score}. In order to create polyrhythmic music,
2791 this engraver should be removed from @code{Score} and placed in
2794 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2795 Engraves tuplet brackets? In @code{Staff}.
2797 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2802 @node Sound output, , , Reference Manual
2803 @section Sound output
2807 The MIDI block is analogous to the paper block, but it is simpler.
2808 The @code{\midi} block can contain:
2812 @item a @code{\tempo} definition
2813 @item context definitions
2816 Assignments in the @code{\midi} block are not allowed.
2820 @cindex context definition
2822 Context definitions follow precisely the same syntax as within the
2823 \paper block. Translation modules for sound are called performers.
2824 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2828 @cindex MIDI instrument names
2830 @node midilist, , , Reference Manual
2832 The MIDI instrument name is set by the
2833 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2834 if that property is not set, the
2835 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2836 instrument name should be chosen from the following list. If the
2837 selected string does not exactly match, then LilyPond uses the default
2844 "acoustic grand" "contrabass" "lead 7 (fifths)"
2845 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2846 "electric grand" "pizzicato strings" "pad 1 (new age)"
2847 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2848 "electric piano 1" "timpani" "pad 3 (polysynth)"
2849 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2850 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2851 "clav" "synthstrings 1" "pad 6 (metallic)"
2852 "celesta" "synthstrings 2" "pad 7 (halo)"
2853 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2854 "music box" "voice oohs" "fx 1 (rain)"
2855 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2856 "marimba" "orchestra hit" "fx 3 (crystal)"
2857 "xylophone" "trumpet" "fx 4 (atmosphere)"
2858 "tubular bells" "trombone" "fx 5 (brightness)"
2859 "dulcimer" "tuba" "fx 6 (goblins)"
2860 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2861 "percussive organ" "french horn" "fx 8 (sci-fi)"
2862 "rock organ" "brass section" "sitar"
2863 "church organ" "synthbrass 1" "banjo"
2864 "reed organ" "synthbrass 2" "shamisen"
2865 "accordion" "soprano sax" "koto"
2866 "harmonica" "alto sax" "kalimba"
2867 "concertina" "tenor sax" "bagpipe"
2868 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2869 "acoustic guitar (steel)" "oboe" "shanai"
2870 "electric guitar (jazz)" "english horn" "tinkle bell"
2871 "electric guitar (clean)" "bassoon" "agogo"
2872 "electric guitar (muted)" "clarinet" "steel drums"
2873 "overdriven guitar" "piccolo" "woodblock"
2874 "distorted guitar" "flute" "taiko drum"
2875 "guitar harmonics" "recorder" "melodic tom"
2876 "acoustic bass" "pan flute" "synth drum"
2877 "electric bass (finger)" "blown bottle" "reverse cymbal"
2878 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2879 "fretless bass" "whistle" "breath noise"
2880 "slap bass 1" "ocarina" "seashore"
2881 "slap bass 2" "lead 1 (square)" "bird tweet"
2882 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2883 "synth bass 2" "lead 3 (calliope)" "helicopter"
2884 "violin" "lead 4 (chiff)" "applause"
2885 "viola" "lead 5 (charang)" "gunshot"
2886 "cello" "lead 6 (voice)"
2892 @cindex MIDI types and performers
2894 The types available for MIDI translators are:
2897 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2898 @item @code{Score_performer}@indexcode{Score_performer}
2899 @item @code{Staff_performer}@indexcode{Staff_performer}
2902 The performers for MIDI translators are:
2905 @item @code{Key_performer}@indexcode{Key_performer}
2906 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2907 @item @code{Note_performer}@indexcode{Note_performer}
2908 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2909 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2914 @node Pre-defined Identifiers, , , Reference Manual
2916 @section Pre-defined Identifiers
2918 @cindex pre-defined identifiers
2921 Various identifiers are defined in the initialization files to
2922 provide shorthands for some settings. Most of them are in
2923 @file{ly/declarations.ly}.
2926 @item @code{\break}@keyindex{break}
2927 Force a line break in music by using a large argument for the
2928 keyword @code{\penalty}.
2930 @item @code{\center}@keyindex{center}
2931 Used for setting direction properties. Equals 0.
2933 @item @code{\down}@keyindex{down}
2934 Used for setting direction setting properties. Is equal
2937 @item @code{\free}@keyindex{free}
2938 Used for setting direction setting properties. Is equal
2941 @item @code{\left}@keyindex{left}
2942 Used for setting text alignment property. Is equal to -1.
2944 @item @code{\nobreak}@keyindex{nobreak}
2945 Prevent a line break in music by using a large negative argument
2946 for the keyword @code{\penalty}.
2948 @item @code{\none}@keyindex{none}
2949 Used for setting @code{Score.beamslopedamping} and
2950 @code{Score.beamquantisation} properties. Is equal to 0.
2952 @item @code{\normal}@keyindex{normal}
2953 Used for setting @code{Score.beamslopedamping} and
2954 @code{Score.beamquantisation} properties. Is equal to 1.
2956 @item @code{\normalkey}@keyindex{normalkey}
2957 Select normal key signatures where each octave has the same key
2958 signature. This sets the @code{Staff.keyoctaviation} property.
2960 @item @code{\right}@keyindex{right}
2961 Used for setting text alignment property. Is set to 1.
2963 @item @code{\shiftoff}@keyindex{shiftoff}
2964 Disable horizontal shifting of note heads that collide. Sets the
2965 @code{Voice.horizontalNoteShift} property.
2967 @item @code{\shifton}@keyindex{shifton}
2968 Enable note heads that collide with other note heads to be
2969 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2972 @item @code{\slurboth}@keyindex{slurboth}
2973 Allow slurs to be above or below notes. This sets the
2974 @code{Voice.slurVerticalDirection} property.
2976 @item @code{\slurdown}@keyindex{slurdown}
2977 Force slurs to be below notes. This sets the
2978 @code{Voice.slurVerticalDirection} property.
2980 @item @code{\slurup}@keyindex{slurup}
2981 Force slurs to be above notes. This sets the
2982 @code{Voice.slurVerticalDirection} property.
2984 @item @code{\specialkey}@keyindex{specialkey}
2985 Allow key signatures do differ in different octaves. This sets
2986 the @code{Staff.keyoctaviation} property.
2988 @item @code{\stemboth}@keyindex{stemboth}
2989 Allow stems, beams, and slurs to point either upwards or
2990 downwards, decided automatically by LilyPond. This sets the
2991 @code{Voice.verticalDirection} property.
2993 @item @code{\stemdown}@keyindex{stemdown}
2994 Force stems, beams, and slurs to point down. This sets the
2995 @code{Voice.verticalDirection} property.
2997 @item @code{\stemup}@keyindex{stemup}
2998 Force stems, beams and slurs to point up. This sets the
2999 @code{Voice.verticalDirection} property.
3001 @item @code{\traditional}@keyindex{traditional}
3002 Used for setting the @code{Score.beamquantisation} property. Is
3005 @item @code{\up}@keyindex{up}
3006 Used for setting various direction properties. Is equal