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.
240 Formed from an optional minus sign followed by digits. Arithmetic
241 operations cannot be done with integers, and integers cannot be mixed
249 Formed from an optional minus sign and a sequence of digits followed
250 by a @emph{required} decimal point and an optional exponent such as
251 @code{-1.2e3}. Reals can be built up using the usual operations:
252 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
253 `@code{/}@indexcode{/}', with parentheses for grouping.
255 A real constant can be followed by one of the dimension
258 @code{\mm}@keyindex{mm},
259 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
260 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
261 centimeters, respectively. This converts the number to a real that
262 is the internal representation of dimensions.
269 Begins and ends with the `@code{"}' character. To include a `@code{"}'
270 character in a string write `@code{\"}'. Various other backslash
271 sequences have special interpretations as in the C language. A
272 string that contains no spaces can be written without the quotes.
273 See section XREF-modes [FIXME] for details on unquoted strings; their
274 interpretation varies depending on the situation. Strings can be
275 concatenated with the `@code{+}' operator.
278 The tokenizer accepts the following commands. They can appear
282 \maininput@keyindex{maininput}
285 This command is used in init files to signal that the user file must
286 be read. This command cannot be used in a user file.
289 \include@keyindex{include} @var{file}
292 Include @var{file}. The argument @var{file} may be a quoted string (an
293 unquoted string will not work here!) or a string identifier. The full
294 filename including the @file{.ly} extension must be given,
297 \version@keyindex{version} @var{string} ;
300 Specify the version of LilyPond that a file was written for. The
301 argument is a version string in quotes, for example @code{"1.2.0"}.
302 This is used to detect invalid input, and to aid
303 @code{convert-mudela}, a tool that automatically upgrades input files.
307 @cindex other languages
309 @node Other languages, , , Reference Manual
311 Note name definitions have been provided in various languages.
312 Simply include the language specific init file. For example:
313 `@code{\include "english.ly"}'. The available language files and the
314 names they define are:
319 Note Names sharp flat
320 nederlands.ly c d e f g a bes b -is -es
321 english.ly c d e f g a bf b -s/-sharp -f/-flat
322 deutsch.ly c d e f g a b h -is -es
323 norsk.ly c d e f g a b h -iss/-is -ess/-es
324 svenska.ly c d e f g a b h -iss -ess
325 italiano.ly do re mi fa sol la sid si -d -b
326 catalan.ly do re mi fa sol la sid si -d/-s -b
331 Pitch names can be redefined using the
332 @code{\notenames}@keyindex{notenames} command, see
333 subsection XREF-notenames [FIXME].
337 @cindex lexical modes
341 @node modes, , , Reference Manual
343 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
344 special input modes on top of the default mode. In each mode, words
345 are identified on the input. If @code{"word"} is encountered, it is
346 treated as a string. If @code{\word} is encountered, it is treated as
347 a keyword or as an identifier. The behavior of the modes differs in
348 two ways: Different modes treat unquoted words differently, and
349 different modes have different rules for deciding what is a word.
355 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
356 mode, a word is an alphabetic character followed by alphanumeric
357 characters. If @code{word} is encountered on the input it is
363 Note mode is introduced by the keyword
364 @code{\notes}@keyindex{notes}. In Note mode, words can only
365 contain alphabetic characters. If @code{word} is encountered,
366 LilyPond first checks for a notename of @code{word}. If no
367 notename is found, then @code{word} is treated as a string.
369 Since combinations of numbers and dots are used for indicating
370 durations, it is not possible to enter real numbers in this mode.
375 Chord mode is introduced by the keyword
376 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
377 words are also looked up in a chord modifier table (containing
378 @code{maj}, @code{dim}, etc).
380 Since combinations of numbers and dots are used for indicating
381 durations, you can not enter real numbers in this mode. Dashes
382 and carets are used to indicate chord additions and subtractions,
383 so scripts can not be entered in Chord mode.
388 Lyrics mode is introduced by the keyword
389 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
390 easy to include punctuation and diacritical marks in words. A
391 word in Lyrics mode begins with: an alphabetic character,
392 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
393 control characters @code{^A} through @code{^F}, @code{^Q} through
394 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
395 over 127, or a two-character combination of a backslash followed
396 by one of `@code{`}', `@code{'}', `@code{"}', or
397 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
398 enter lyrics in TeX format or a standard encoding without
399 needing quotes. The precise definition of this mode indeed is
400 ludicrous. This will remain so until the authors of LilyPond
401 acquire a deeper understanding of character encoding, or someone
402 else steps up to fix this.}
404 Subsequent characters of a word can be any character that is not
405 a digit and not white space. One important consequence of this
406 is that a word can end with `@code{@}}', which may be confusing if
407 you thought the closing brace was going to terminate Lyrics
408 mode.@footnote{LilyPond will issue a warning, though.} Any
409 `@code{_}' characters which appear in an unquoted word are
410 converted to spaces. This provides a mechanism for introducing
411 spaces into words without using quotes. Quoted words can also be
412 used in Lyrics mode to specify words that cannot be written with
413 the above rules. Here are some examples. Not all of these words
414 are printable by TeX.
421 2B_||_!2B % not a word because it starts with a digit
422 ``Hello'' % not a word because it starts with `
423 _ _ _ _ % 4 words, each one a space
428 Since combinations of numbers and dots are used for indicating
429 durations, you can not enter real numbers in this mode.
432 It is possible to create words that break the rules by prefixing them
433 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
434 word beginning with `@code{$}' extends until the next white space
435 character. Such words can contain numbers (even in Note mode), or
436 other forbidden characters. The dollar sign can be used to create
437 and access identifiers that could not otherwise be used.@footnote{Use
438 of `@code{$}' hampers readability and portability to future LilyPond
439 versions, thus the use of the dollar sign is discouraged.}
443 @node Types, , , Reference Manual
446 @cindex types and identifiers
448 @emph{Mudela} has a limited set of types:
454 @item music expressions
455 @item durations of notes and rests (specified with
456 @code{\notenames}@keyindex{notenames})
457 @item note name tables
458 @item context definitions, part of output definitions. See
459 section XREF-contextdefs [FIXME] for more information
460 @item output definitions (like @code{\paper}@keyindex{paper} blocks
461 and @code{\midi}@keyindex{midi} blocks)
462 @item score definitions (@code{\score}@keyindex{score} blocks)
465 Type is a syntactical property: @emph{Mudela} has no real type system,
466 so there is no support for generic expressions, functions, or user
467 defined types. For the same reason, it is not possible to mix reals
468 and integers in arithmetic expressions, and ``type
471 (e.g., using a string identifier to
472 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
475 Identifiers allow objects to be assigned to names. To assign an
476 identifier, you use `@var{name}=@var{value}' and to refer to an
477 identifier, you preceed its name with a backslash:
478 `@code{\}@var{name}'. Identifier assignments must appear at top level
479 in the @emph{Mudela} file. Semicolons are forbidden after assignments
480 appearing at top level but they are obligatory after assignments
481 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
483 @var{value} is any of the types listed above.
485 An identifier can be created with any string for its name, but you
486 will only be able to refer to identifiers whose names begin with a
487 letter, being entirely alphanumeric. It is impossible to refer to an
488 identifier whose name is the same as the name of a keyword.
490 The right hand side of an identifier assignment is parsed completely
491 before the assignment is done, so it is allowed to redefine an
492 identifier in terms of its old value, e.g.
498 When an identifier is referenced, the information it points to is
499 copied. Therefore it only makes sense to put identifiers for
500 translators, output definitions, and @code{\score}@keyindex{score}
501 blocks as the first item in a block. For this reason, if you
502 reference a @code{\foo} variable in a @code{\foo} block, it must be the
503 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
504 \two@}} does not make sense, because the information of @code{\two}
505 would overwrite the information of @code{\one}, thereby making the
506 reference to the first identifier useless.}
510 @node Music expressions, , , Reference Manual
511 @section Music expressions
513 @cindex music expressions
515 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
516 lyric syllables are music expressions (the atomic
518 @cindex atomic music expressions
519 , and you can combine
520 music expressions to form new ones. This example forms a compound
521 expressions out of the quarter @code{c} note and a @code{d}
525 \sequential @{ c4 d4 @}
528 The meaning of this compound expression is to play the `@code{c}'
529 first, and then the `@code{d}' (as opposed to playing them
530 simultaneously, for instance).
532 Atomic music expression are discussed in
533 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
534 discussed in subsection XREF-compoundmusic [FIXME].
538 @node Atomic music expressions, , , Reference Manual
539 @section Atomic music expressions
549 The syntax for pitch specification is
553 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
556 @var{octave} is specified by an integer, zero for the octave
557 containing middle C. @var{note} is a number from 0 to 7, with 0
558 corresponding to C and 7 corresponding to B. The shift is zero for a
559 natural, negative to add flats, or positive to add sharps.
561 In Note and Chord mode, pitches may be designated by names. See
562 section XREF-notelang [FIXME] for pitch names in different languages.
564 The syntax for duration specification is
567 \duration@keyindex{duration}
568 @{ @var{length} @var{dotcount} @}
571 @var{length} is the negative logarithm (base 2) of the duration:
572 1 is a half note, 2 is a quarter note, 3 is an eighth
573 note, etc. The number of dots after the note is given by
576 In Note, Chord, and Lyrics mode, durations may be designated by
577 numbers and dots. See Section XREF-notelang [FIXME] for details.
580 @node Note specification, , , Reference Manual
582 @cindex note specification
586 @cindex entering notes
588 A note specification has the form
591 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
594 The pitch of the note is specified by the note's name.
597 The default names are the Dutch note names. The notes are specified
598 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
599 octave below middle C and the letters span the octave above that C.
600 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
601 `@code{-is}' to the end of a pitch name. A flat is formed by adding
602 `@code{-es}'. Double sharps and double flats are obtained by adding
603 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
604 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
607 LilyPond has predefined sets of notenames for various languages. See
608 section XREF-notelang [FIXME] for details.
611 The optional octave specification takes the form of a series of
612 single quote (`@code{'}@indexcode{'}') characters or a series of comma
613 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
614 octave; each @code{,} lowers the pitch by an octave.
616 @mudela[fragment,verbatim,center]
617 c' d' e' f' g' a' b' c''
620 @mudela[fragment,verbatim,center]
621 cis' dis' eis' fis' gis' ais' bis'
624 @mudela[fragment,verbatim,center]
625 ces' des' es' fes' ges' as' bes'
628 @mudela[fragment,verbatim,center]
629 cisis' eisis' gisis' aisis' beses'
632 @mudela[fragment,verbatim,center]
633 ceses' eses' geses' ases' beses'
636 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
637 will determine what accidentals to typeset depending on the key and
638 context. A reminder accidental
639 @cindex reminder accidental
641 forced by adding an exclamation mark `@code{!}' after the pitch. A
642 cautionary accidental,
643 @cindex cautionary accidental
645 accidental within parentheses can be obtained by adding the question
646 mark `@code{?}@indexcode{?}' after the pitch.
648 @mudela[fragment,verbatim,center]
649 cis' d' e' cis' c'? d' e' c'!
655 Durations are entered as their reciprocal values. For notes longer
656 than a whole note, use identifiers.
662 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
671 \notes \relative c'' {
673 a1 a2 a4 a8 a16 a32 a64 a64
676 loose_column_distance = 2.5 * \interline;
679 \type "Score_engraver";
681 \consists "Note_heads_engraver";
682 \consists "Stem_engraver";
683 \consists "Rhythmic_column_engraver";
694 r1 r2 r4 r8 r16 r32 r64 r64
703 \notes \relative c'' {
705 r1 r2 r4 r8 r16 r32 r64 r64
708 loose_column_distance = 2.5 * \interline;
711 \type "Score_engraver";
713 \consists "Rest_engraver";
714 \consists "Stem_engraver";
715 \consists "Rhythmic_column_engraver";
722 If the duration is omitted then it is set equal to the previous
723 duration. If there is no previous duration, a quarter note is
724 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
725 to obtain dotted note lengths.
727 @mudela[fragment,verbatim,center]
731 You can alter the length of duration by writing
732 `@code{*}@var{fraction}' after it. This will not affect the
733 appearance of note heads or rests.
736 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
737 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
738 which produces a space of the specified duration.
739 `@code{R}' is specifically meant for entering parts: the @code{R} rest
740 can expand to fill a score with rests, or it can be printed as a
741 single multimeasure rest.
744 @cindex lyrics expressions
746 Syllables are entered like notes, with pitches replaced by text. For
747 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
748 with quarter note duration. Note that the hyphen has no special
749 meaning for lyrics, and does not introduce special symbols. See
750 section XREF-modes [FIXME] for a description of what is interpreted as
753 Spaces can be introduced into a lyric either by using quotes
754 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
755 not4}'. All unquoted underscores are converted to spaces. Printing
756 lyrics is discussed in section XREF-lyricprint [FIXME].
763 \property@keyindex{property}
764 @var{contextname}.@var{propname} = @var{value}
767 Sets the @var{propname} property of the context @var{contextname} to
768 the specified @var{value}. All three arguments are strings.
769 Depending on the context, it may be necessary to quote the strings or
770 to leave space on both sides of the dot.
774 @cindex translator switches
777 \translator@keyindex{translator}
778 @var{contexttype} = @var{name}
781 A music expression indicating that the context which is a direct
782 child of the a context of type @var{contexttype} should be shifted to
783 a context of type @var{contexttype} and the specified name.
785 Usually this is used to switch staffs in Piano music, e.g.
788 \translator Staff = top @var{Music}
795 Commands are music expressions that have no duration.
800 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
803 Change the key signature. @var{type} should be
804 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
805 @var{pitch}-major or @var{pitch}-minor, respectively. The second
806 argument is optional; the default is major keys. The @var{\context}
807 argument can also be given as an integer, which tells the number of
808 semitones that should be added to the pitch given in the subsequent
809 @code{\key}@keyindex{key} commands to get the corresponding major key,
810 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
811 mode names @code{\ionian}@keyindex{ionian},
812 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
813 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
814 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
819 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
822 Specify an arbitrary key signature. The pitches from @var{pitch} will
823 be printed in the key signature in the order that they appear on the
828 \mark@keyindex{mark} @var{unsigned};
832 Prints a mark over or under (depending on the
833 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
834 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
837 @node barlines, , , Reference Manual
840 \bar@keyindex{bar} @var{bartype};
843 This is a request to print a special bar symbol. It replaces the
844 regular bar symbol with a special
845 symbol. The argument @var{bartype} is a string which specifies the
846 kind of bar to print. Options are @code{":|"}
847 @cindex "|A@@@code{:|}
850 @cindex "|B@@@code{|:}
852 @cindex "|C@@@code{:|:}
855 @cindex "|D@@@code{||}
857 @cindex "|E@@@code{|.}
860 @cindex "|F@@@code{.|}
862 @cindex "|G@@@code{.|.}
864 These produce, respectively, a right repeat, a left repeat, a double
865 repeat, a double bar, a start bar, an end bar, and a thick double
866 bar. If @var{bartype} is set to @code{"empty"} then nothing is
867 printed, but a line break is allowed at that spot.
869 You are encouraged to use @code{\repeat} for repetitions.
870 See section XREF-sec-repeats [FIXME].
877 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
880 Change the time signature. The default time signature is 4/4.
881 The time signature is used to generate bar lines.
885 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
888 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
889 requests output with 76 quarter notes per minute.
893 \partial@keyindex{partial} @var{duration} @code{;}
900 This creates an incomplete measure (anacrusis, upbeat) at the start of
901 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
902 lasting two eighth notes.
906 @code{|}@indexcode{|}
911 @cindex shorten measures
915 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
916 interpretation, a warning message is issued if it doesn't fall at a
917 measure boundary. This can help you finding errors in the input.
918 The beginning of the measure will be relocated, so this can also
919 be used to shorten measures.
924 \penalty@keyindex{penalty} @var{int} @code{;}
927 Discourage or encourage line breaks. See identifiers
928 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
929 section [on identifiers] [FIXME].
933 \clef@keyindex{clef} @var{clefname} @code{;}
936 Music expression that sets the current clef. The argument is a
937 string which specifies the name of the clef. Several clef names are
938 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
939 name, then the clef lowered or raised an octave will be generated.
940 Here are the supported clef names with middle C shown in each
949 %\property Voice.textStyle = typewriter
950 \clef subbass; c'4-"\kern -5mm subbass"
951 \clef bass; c'4^"\kern -2mm bass"
952 \clef baritone; c'4_"\kern -5mm baritone"
953 \clef varbaritone; c'4^"\kern -6mm varbaritone"
954 \clef tenor; c'4_"\kern -3mm tenor"
955 \clef "G_8"; c'4^"\kern -2mm G\\_8"
970 \clef alto; c'4_"\kern -2mm alto"
971 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
972 \clef soprano; c'4_"\kern -6mm soprano"
973 \clef treble; c'4^"\kern -4mm treble"
974 \clef french; c'4_"\kern -4mm french"
983 The three clef symbols can also be obtained using the names `@code{G}',
984 `@code{C}' or `@code{F}', optionally followed by an integer which
985 indicates at which note line the clef is located. An as example, the
986 @code{mezzosoprano} clef can also be given as `@code{C2}'.
990 \skip@keyindex{skip} @var{duration} @code{;}
993 Skips the amount of time specified by @var{duration}. If no other
994 music is played, a gap will be left for the skipped time with no
995 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
996 this has the same effect as the space rest `@code{s}'.
1001 @node Manual beams, , , Reference Manual
1003 A beam is specified by surrounding the beamed notes with brackets
1004 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1006 @mudela[fragment,verbatim,center]
1007 [a'8 a'] [a'16 a' a' a']
1010 Some more elaborate constructions:
1012 @mudela[fragment,verbatim,center]
1013 [a'16 <a' c''> c'' <a' c''>]
1014 \times 2/3 { [e'8 f' g'] }
1017 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1019 To place tremolo marks
1020 @cindex tremolo beams
1021 between two notes, begin
1022 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1023 will appear instead of beams. Putting more than two notes in such a
1024 construction will produce odd effects. To create tremolo beams on a
1025 single note, simply attach `@code{:}@var{length}' to the note itself
1026 (see also section XREF-tremolo [FIXME]).
1028 @mudela[fragment,verbatim,center]
1029 [:16 e'1 g'] [:8 e'4 f']
1032 @mudela[fragment,verbatim,center]
1033 c'4:32 [:16 c'8 d'8]
1037 @cindex --@@@code{-}@code{-}
1045 The syntax for an extender mark is `@code{__}'. This syntax can only
1046 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1047 a hyphen that will be printed between two lyric syllables) is
1053 A tie connects two adjacent note heads of the same pitch. When used
1054 with chords, it connects all of the note heads whose pitches match.
1055 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1056 If you try to tie together chords which have no common pitches, a
1057 warning message will appear and no ties will be created.
1059 @mudela[fragment,verbatim,center]
1060 e' ~ e' <c' e' g'> ~ <c' e' g'>
1065 [TODO: explain Requests]
1068 @cindex articulations
1074 A variety of symbols can appear above and below notes to indicate
1075 different characteristics of the performance. These symbols can be
1076 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1077 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1078 forced to appear above or below the note by writing
1079 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1080 respectively. Here is a chart showing symbols above notes, with the
1081 name of the corresponding symbol appearing underneath.
1087 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1088 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1089 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1090 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1091 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1092 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1093 c''-\thumb c''-\segno c''-\coda
1095 \context Lyrics \lyrics {
1096 accent__ marcato__ staccatissimo__ fermata
1097 stopped__ staccato__ tenuto__ upbow
1098 downbow__ lheel__ rheel__ ltoe
1099 rtoe__ turn__ open__ flageolet
1100 reverseturn__ trill__ prall__ mordent
1101 prallprall__ prallmordent__ uprall__ downprall
1102 thumb__ segno__ coda
1106 linewidth = 5.875\in;
1113 In addition, it is possible to place arbitrary strings of text or
1114 TeX above or below notes by using a string instead of an
1115 identifier: `@code{c^"text"}'. Fingerings
1118 placed by simply using digits. All of these note ornaments appear in
1119 the printed output but have no effect on the MIDI rendering of the
1122 To save typing, fingering instructions (digits 0 to 9 are
1123 supported) and single characters shorthands exist for a few
1130 \property Voice.textStyle = typewriter
1136 c''4-^_"c-\\^{ }" s4
1143 linewidth = 5.875 \in;
1150 Dynamic marks are specified by using an identifier after a note:
1151 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1152 The available dynamic marks are:
1153 @code{\ppp}@keyindex{ppp},
1154 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1155 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1156 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1157 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1158 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1159 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1160 @code{\rfz}@keyindex{rfz}.
1165 \textscript@keyindex{textscript} @var{text} @var{style}
1168 Defines a text to be printed over or under a note. @var{style} is a
1169 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1170 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1172 You can attach a general textscript request using this syntax:
1177 c4-\textscript "6" "finger"
1178 c4-\textscript "foo" "normal"
1183 This is equivalent to `@code{c4-6 c4-"foo"}'.
1190 \script@keyindex{script} @var{alias}
1193 Prints a symbol above or below a note. The argument is a string
1194 which points into the script-alias table defined in @file{script.scm}.
1195 The scheme definitions specify whether the symbol follows notes into
1196 the staff, dependence of symbol placement on staff direction, and a
1197 priority for placing several symbols over one note. Usually the
1198 @code{\script}@keyindex{script} keyword is not used directly. Various
1199 helpful identifier definitions appear in @file{script.ly}.
1204 Slurs connects chords and try to avoid crossing stems. A slur is
1205 started with `@code{(}' and stopped with `@code{)}'. The
1206 starting `@code{(}' appears to the right of the first note in
1207 the slur. The terminal `@code{)}' appears to the left of the
1208 first note in the slur. This makes it possible to put a note in
1209 slurs from both sides:
1211 @mudela[fragment,verbatim,center]
1212 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1218 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1219 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1220 @code{\decr}@keyindex{decr} and terminated with
1221 @code{\rced}@keyindex{rced}. There are also shorthands for these
1222 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1223 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1224 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1225 must go before the last note of the dynamic mark whereas @code{\rc}
1226 and @code{\rced} go after the last note. Because these marks are
1227 bound to notes, if you want to get several marks during one note, you
1228 must use spacer notes.
1230 @mudela[fragment,verbatim,center]
1231 c'' \< \! c'' d'' \decr e'' \rced
1232 < f''1 { s4 \< \! s2 \> \! s4 } >
1238 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1241 Define a spanning request. The @var{startstop} parameter is either -1
1242 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1243 @var{type} is a string that describes what should be started.
1244 Supported types are @code{crescendo}, @code{decrescendo},
1245 @code{beam}, @code{slur}. This is an internal command. Users should
1246 use the shorthands which are defined in the initialization file
1249 You can attach a (general) span request to a note using
1251 @mudela[fragment,verbatim,center]
1252 c'4-\spanrequest \start "slur"
1253 c'4-\spanrequest \stop "slur"
1256 The slur syntax with parentheses is a shorthand for this.
1260 @cindex tremolo marks
1262 @node tremolo, , , Reference Manual
1264 Tremolo marks can be printed on a single note by adding
1265 `@code{:}[@var{length}]' after the note. The length must be at
1266 least 8. A @var{length} value of 8 gives one line across
1267 the note stem. If the length is omitted, then the last value is
1268 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1271 @mudela[verbatim,fragment,center]
1277 @node Compound music expressions, , , Reference Manual
1278 @section Compound music expressions
1280 @cindex compound music expressions
1282 Music expressions are compound data structures. You can nest music
1283 expressions any way you like. This simple example shows how three
1284 chords can be expressed in two different ways:
1286 @mudela[fragment,verbatim,center]
1287 \notes \context Staff {
1289 <a c'> <b d' > <c' e'>
1290 < { a b c' } { c' d' e' } >
1294 @cindex context selection
1295 @c @keyindex{context}
1298 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1301 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1302 If the context does not exist, it will be created. The new context
1303 can optionally be given a name. See
1304 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1305 information on interpretation contexts.
1313 Mode switching keywords form compound music expressions: @code{\notes}
1314 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1315 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1316 These expressions do not add anything to the meaning of their
1317 arguments. They are just a way to indicate that the arguments should
1318 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1319 information on modes.
1321 More information on context selection can be found in
1322 section XREF-contextselection [FIXME].
1326 @cindex sequential music
1332 \sequential@keyindex{sequential}
1333 @code{@{} @var{musicexprlist} @code{@}}
1336 This means that list should be played or written in sequence, i.e.,
1337 the second after the first, the third after the second. The duration
1338 of sequential music is the the sum of the durations of the elements.
1339 There is a shorthand, which leaves out the keyword:
1343 @code{@{} @var{musicexprlist} @code{@}}
1348 @cindex simultaneous music
1355 \simultaneous@keyindex{simultaneous}
1356 @code{@{} @var{musicexprlist} @code{@}}
1359 It constructs a music expression where all of its arguments start at
1360 the same moment. The duration is the maximum of the durations of the
1361 elements. The following shorthand is a common idiom:
1365 @code{<} @var{musicexprlist} @code{>}
1368 If you try to use a chord as the first thing in your score, you might
1369 get multiple staffs instead of a chord.
1371 @mudela[verbatim,center]
1380 This happens because the chord is interpreted by a score context.
1381 Each time a note is encountered a default Voice context (along with a
1382 Staff context) is created. The solution is to explicitly instantiate
1385 @mudela[verbatim,center]
1387 \notes\context Voice <c''4 e''>
1396 @cindex relative pitch specification
1398 @node relative, , , Reference Manual
1400 It is easy to get confused by octave changing marks and accidentally
1401 putting a pitch in the wrong octave. A much better way of entering a
1402 note's octave is `the relative octave' mode.
1406 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1409 The octave of notes that appear in @var{musicexpr} are calculated as
1410 follows: If no octave changing marks are used, the basic interval
1411 between this and the last note is always taken to be a fourth or
1412 less.@footnote{The interval is determined without regarding
1413 accidentals. A @code{fisis} following a @code{ceses} will be put above
1414 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1415 can then be added to raise or lower the pitch by an extra octave.
1416 Upon entering relative mode, an absolute starting pitch must be
1417 specified that will act as the predecessor of the first note of
1420 Entering scales is straightforward in relative mode.
1422 @mudela[fragment,verbatim,center]
1428 And octave changing marks are used for intervals greater than a fourth.
1430 @mudela[fragment,verbatim,center]
1432 c g c f, c' a, e'' }
1435 If the preceding item is a chord, the first note of the chord is used
1436 to determine the first note of the next chord. But other notes
1437 within the second chord are determined by looking at the immediately
1440 @mudela[fragment,verbatim,center]
1448 The pitch after the @code{\relative} contains a notename. To parse
1449 the pitch as a notename, you have to be in note mode, so there must
1450 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1453 The relative conversion will not affect @code{\transpose} or
1454 @code{\relative} sections in its argument. If you want to use
1455 relative within transposed music, you must place an additional
1456 @code{\relative} inside the @code{\transpose}.
1458 It is strongly recommended to use relative pitch mode: less work,
1459 less error-prone, and more readable.
1463 Chord names are a way to generate simultaneous music expressions that
1464 correspond with traditional chord names. It can only be used in
1465 Chord mode (see section XREF-modes [FIXME]).
1469 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1472 @var{tonic} should be the tonic note of the chord, and @var{duration}
1473 is the chord duration in the usual notation. There are two kinds of
1474 modifiers. One type is @emph{chord additions}, which are obtained by
1475 listing intervals separated by dots. An interval is written by its
1476 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1477 lowering by half a step. Chord additions has two effects: It adds
1478 the specified interval and all lower odd numbered intervals to the
1479 chord, and it may lower or raise the specified interval. Intervals
1480 must be separated by a dot (`@code{.}').
1484 @mudela[fragment,verbatim]
1488 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1495 The second type of modifier that may appear after the `@code{:}' is a
1496 named modifier. Named modifiers are listed in the file
1497 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1498 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1499 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1500 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1501 which replaces the 5th with a 4th.
1505 @mudela[fragment,verbatim]
1508 c1:m c:min7 c:maj c:aug c:dim c:sus
1516 Chord subtractions are used to eliminate notes from a chord. The
1517 notes to be subtracted are listed after a `@code{^}' character,
1520 @mudela[fragment,verbatim,center]
1528 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1529 the name of a single note to a chord. This has the effect of
1530 lowering the specified note by an octave so it becomes the lowest
1531 note in the chord. If the specified note is not in the chord, a
1532 warning will be printed.
1534 @mudela[fragment,verbatim,center]
1543 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1544 the name of a single note to a chord. This has the effect of
1545 adding the specified note to the chord, lowered by an octave,
1546 so it becomes the lowest note in the chord.
1548 @mudela[fragment,verbatim,center]
1557 Throughout these examples, chords have been shifted around the staff
1558 using @code{\transpose}.
1560 You should not combine @code{\relative} with named chords.
1566 Tuplets are made out of a music expression by multiplying their
1567 duration with a fraction.
1571 \times@keyindex{times} @var{fraction} @var{musicexpr}
1574 The duration of @var{musicexpr} will be multiplied by the fraction.
1575 In print, the fraction's denominator will be printed over the notes,
1576 optionally with a bracket. The most common tuplet is the triplet in
1577 which 3 notes have the length of 2, so the notes are 2/3 of
1578 their written length:
1580 @mudela[fragment,verbatim,center]
1581 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1590 \grace@keyindex{grace} @var{musicexpr}
1593 A grace note expression has duration 0; the next real note is
1594 assumed to be the main note.
1596 You cannot have the grace note after the main note, in terms of
1597 duration, and main notes, but you can typeset the grace notes to the
1598 right of the main note using the property
1599 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1601 When grace music is interpreted, a score-within-a-score is set up:
1602 @var{musicexpr} has its own time bookkeeping, and you could (for
1603 example) have a separate time signature within grace notes. While in
1604 this score-within-a-score, you can create notes, beams, slurs, etc.
1605 Unbeamed eighth notes and shorter by default have a slash through the
1606 stem. This behavior can be controlled with the
1607 @code{stemStyle}@indexcode{stemStyle} property.
1611 @mudela[fragment,verbatim]
1613 \grace c8 c4 \grace { [c16 c16] } c4
1614 \grace { \property Grace.stemStyle = "" c16 } c4
1620 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1624 @code{\grace @{ \grace c32 c16 @} c4}
1627 may result in run-time errors of LilyPond. Since the meaning of such
1628 a construct is unclear, we don't consider this a loss. Similarly,
1629 juxtaposing two @code{\grace} sections is syntactically valid, but
1630 makes no sense and may cause runtime errors.
1632 Ending a staff or score with grace notes may also generate a run-time
1633 error, since there will be no main note to attach the grace notes to.
1639 @node Repeats, , , Reference Manual
1641 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1642 keyword. Since repeats look and sound differently when played or
1643 printed, there are a few different variants of repeats.
1647 Repeated music is fully written (played) out. Useful for MIDI
1651 This is the normal notation: Repeats are not written out, but
1652 alternative endings (voltas) are printed, left to right.
1655 Alternative endings are written stacked, which is useful for
1659 The syntax for repeats is
1663 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1666 If you have alternative endings, you may add
1670 \alternative@keyindex{alternative}
1671 @code{@{} @var{alternative1}
1673 @var{alternative3} @dots{} @code{@}}
1676 where each @var{alternative} is a Music expression.
1678 Normal notation repeats are used like this:
1682 @mudela[fragment,verbatim]
1684 \repeat volta 2 { c'4 d' e' f' }
1685 \repeat volta 2 { f' e' d' c' }
1690 With alternative endings:
1694 @mudela[fragment,verbatim]
1696 \repeat volta 2 {c'4 d' e' f'}
1697 \alternative { {d'2 d'} {f' f} }
1702 Folded repeats look like this:@footnote{Folded repeats offer little
1703 more over simultaneous music. However, it is to be expected that
1704 more functionality -- especially for the MIDI backend -- will be
1709 @mudela[fragment,verbatim]
1711 \repeat fold 2 {c'4 d' e' f'}
1712 \alternative { {d'2 d'} {f' f} }
1719 @mudela[fragment,verbatim]
1723 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1724 \alternative { { g4 g g } { a | a a a a | b1 } }
1731 If you don't give enough alternatives for all of the repeats, then
1732 the first alternative is assumed to be repeated often enough to equal
1733 the specified number of repeats.
1737 @mudela[fragment,verbatim]
1740 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1741 \alternative { { g4 g g }
1742 {\partial 1; e4 e e }
1743 {\partial 1; a a a a | b1 } }
1750 It is possible to nest @code{\repeat}. This is not entirely
1751 supported: the notes will come be in the right places, but the repeat
1756 @cindex transposition of pitches
1758 @node transpose, , , Reference Manual
1760 A music expression can be transposed with
1761 @code{\transpose}@keyindex{transpose}. The syntax is
1765 \transpose @var{pitch} @var{musicexpr}
1768 This means that middle C in @var{musicexpr} is transposed to
1771 @code{\transpose} distinguishes between enharmonic pitches: both
1772 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1773 a tone. The first version will print sharps and the second version
1778 @mudela[fragment,verbatim]
1783 \transpose des'' { \key e; c d e f }
1784 \transpose cis'' { \key e; c d e f }
1790 If you want to use both @code{\transpose} and @code{\relative}, then
1791 you must use @code{\transpose} first. @code{\relative} will have no
1792 effect music that appears inside a @code{\transpose}.
1796 @cindex automatic lyric durations
1798 If you have lyrics that are set to a melody, you can import the
1799 rhythm of that melody into the lyrics using @code{\addlyrics}.
1800 @keyindex{addlyrics} The syntax for this is
1804 \addlyrics @var{musicexpr1 musicexpr2}
1807 This means that both @var{musicexpr1} and @var{musicexpr2} are
1808 interpreted, but that every non-command atomic music expression
1809 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1810 of @var{musicexpr1}.
1812 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1813 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1818 @mudela[verbatim,fragment]
1821 \property Voice.automaticMelismata = "1"
1822 c8 () cis d8. e16 f2
1824 \context Lyrics \lyrics {
1830 You should use a single rhythm melody, and single rhythm lyrics (a
1831 constant duration is the obvious choice). If you do not, you will get
1832 undesired effects when using multiple stanzas:
1836 @mudela[verbatim,fragment]
1839 c8 () cis d8. e16 f2
1841 \context Lyrics \lyrics
1848 It is valid (but probably not very useful) to use notes instead of
1849 lyrics for @var{musicexpr2}.
1854 @node Ambiguities, , , Reference Manual
1855 @section Ambiguities
1859 The grammar contains a number of ambiguities.@footnote{The authors
1860 hope to resolve them at a later time.}
1863 @item The assignment
1869 can be interpreted as making a string identifier @code{\foo}
1870 containing @code{"bar"}, or a music identifier @code{\foo}
1871 containing the syllable `bar'.
1873 @item The assignment
1879 can be interpreted as making an integer identifier
1880 containing -6, or a Request identifier containing the
1881 fingering `6' (with neutral direction).
1883 @item If you do a nested repeat like
1895 then it is ambiguous to which @code{\repeat} the
1896 @code{\alternative} belongs. This is the classic if-then-else
1897 dilemma. It may be solved by using braces.
1899 @item (an as yet unidentified ambiguity :-)
1904 @node Notation conversion specifics, , , Reference Manual
1905 @section Notation conversion specifics
1909 @cindex automatic beam generation
1911 @node autobeam, , , Reference Manual
1913 By default, LilyPond will generate beams automatically. This feature
1914 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1915 property to 1. It can be overridden for specific cases by
1916 specifying explicit beams as described in
1917 section XREF-manualbeam [FIXME].
1919 A large number of Voice properties are used to decide how to generate
1920 beams. Their default values appear in @file{auto-beam-settings.ly}.
1921 In general, beams can begin anywhere, but their ending location is
1922 significant. Beams can end on a beat, or at durations specified by
1923 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1924 quarter note, for example, you could set
1925 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1926 at every three eighth notes you would set it to `@code{"3/8"}'. The
1927 same syntax can be used to specify beam starting points using
1928 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1930 To allow different settings for different time signatures, these
1931 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1932 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1933 to specify beams ending only for 6/8 time you would use the
1934 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1935 for notes of different durations, the duration can be tacked onto the
1936 end of the property. To specify beam endings for beams that contain
1937 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1945 @cindex printing!chord names
1947 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1948 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1949 either using the notation described above, or directly using
1954 @mudela[fragment,verbatim]
1956 \context ChordNames {
1957 \chords{a b c} \notes{<d f g> <e g b>}
1959 \context Staff \notes {
1967 LilyPond examines chords specified as lists of notes to determine a
1968 name to give the chord. By default, LilyPond will not try to
1969 identify chord inversions:
1971 @mudela[fragment,verbatim,center]
1973 \context ChordNameVoice \notes {
1976 \context Thread \notes {
1982 If you want inversions to be recognized, you must set the property
1983 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1985 @mudela[fragment,verbatim,center]
1987 \property Score.chordInversion = 1
1988 \context ChordNameVoice \notes {
1991 \context Thread \notes {
2001 @cindex printing!lyrics
2003 @node lyricprint, , , Reference Manual
2005 Lyric syllables must be interpreted within a @code{Lyrics} context
2007 @cindex context!Lyrics
2010 Here is a full example:
2017 \notes \transpose c'' {
2019 e f g2 | e4 f g2 \bar "|.";
2021 \context Lyrics \lyrics {
2022 Va-4 der Ja- cob Va- der Ja- cob
2023 Slaapt gij nog?2 Slaapt4 gij nog?2
2031 You may want a continuous line after the syllables to show melismata.
2032 To achieve this effect, add a `@code{__}' lyric as a separate word
2033 after the lyric to be extended. This will create an extender, a line
2034 that extends over the entire duration of the lyric. This line will
2035 run all the way to the start of the next lyric, so you may want to
2036 shorten it by using a blank lyric (using `@code{_}').
2043 \notes \relative c'' {
2044 a4 () b () c () d | c () d () b () a | c () d () b () a
2046 \context Lyrics \lyrics {
2047 foo1 __ | bar2. __ _4 | baz1 __
2056 If you want to have hyphens centered between syllables (rather than
2057 attached to the end of the first syllable) you can use the special
2058 `@code{-}@code{-}' lyric as a separate word between syllables. This
2059 will result in a hyphen which length varies depending on the space
2060 between syllables, and which will be centered between the syllables.
2068 \notes \transpose c'' {
2070 e f g2 | e4 f g2 \bar "|.";
2072 \context Lyrics \lyrics {
2073 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2074 Slaapt gij nog?2 | Slaapt4 gij nog?2
2084 @node Notation Contexts, , , Reference Manual
2085 @section Notation Contexts
2087 @cindex notation contexts
2089 Notation contexts are objects that only exist during a run of
2090 LilyPond. During the interpretation phase of LilyPond, the Music
2091 expression contained in a @code{\score} block is interpreted in time
2092 order. This is the order in which humans read, play, and write
2095 A context is an object that holds the reading state of the
2096 expression; it contains information like
2099 @item What notes are playing at this point?
2100 @item What symbols will be printed at this point?
2101 @item In what style will they printed?
2102 @item What is the current key signature, time signature, point within
2106 Contexts are grouped hierarchically: A @code{Voice} context is
2107 contained in a @code{Staff} context (because a staff can contain
2108 multiple voices at any point), a @code{Staff} context is contained in
2109 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2110 these can all contain multiple staffs).
2112 Contexts associated with sheet music output are called @emph{notation
2113 contexts}, those for sound output are called playing contexts.
2115 Contexts are created either manually or automatically. Initially,
2116 the top level music expression is interpreted by the top level
2117 context (the @code{Score} context). When a atomic music expression
2118 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2119 set of contexts is created that can process these atomic expressions,
2125 \score @{ \notes < c4 > @}
2130 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2131 context. When the note `@code{c4}' itself is interpreted, a set of
2132 contexts is needed that will accept notes. The default for this is a
2133 @code{Voice} context, contained in a @code{Staff} context. Creation of
2134 these contexts results in the staff being printed.
2139 You can also create contexts manually, and you probably have to do so
2140 if you want to typeset complicated multiple part material. If a
2141 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2142 during the interpretation phase, the @var{musicexpr} argument will be
2143 interpreted with a context of type @var{name}. If you specify a name,
2144 the specific context with that name is searched.
2146 If a context of the specified type and name can not be found, a new
2147 one is created. For example,
2153 \notes \relative c'' {
2154 c4 <d4 \context Staff = "another" e4> f
2161 In this example, the @code{c} and @code{d} are printed on the
2162 default staff. For the @code{e}, a context Staff called
2163 `@code{another}' is specified; since that does not exist, a new
2164 context is created. Within @code{another}, a (default) Voice context
2165 is created for the @code{e4}. When all music referring to a
2166 context is finished, the context is ended as well. So after the
2167 third quarter, @code{another} is removed.
2169 Almost all music expressions inherit their interpretation context
2170 from their parent. In other words, suppose that the syntax for a
2175 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2178 When the interpretation of this music expression starts, the context
2179 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2182 Lastly, you may wonder, why this:
2188 \notes \relative c'' @{
2196 doesn't result in this:
2201 \notes \relative c'' {
2208 For the @code{c4}, a default @code{Staff} (with a contained
2209 @code{Voice}) context is created. After the @code{c4} ends, no
2210 music refers to this default staff, so it would be ended, with the
2211 result shown. To prevent this inconvenient behavior, the context to
2212 which the sequential music refers is adjusted during the
2213 interpretation. So after the @code{c4} ends, the context of the
2214 sequential music is also the default @code{Voice} context.
2215 The @code{d4} gets interpreted in the same context
2220 These are the contexts supplied with the package. They are defined
2221 in the initialization file @file{ly/engraver.ly}.
2224 @item @code{Grace}@indexcode{Grace}
2225 The context for handling grace notes. It is instantiated
2226 automatically when you use @code{\grace}. Basically, it is an
2227 `embedded' miniature of the Score context. Since this context
2228 needs special interaction with the rest of LilyPond, you should
2229 not explicitly instantiate it.
2231 @item @code{LyricVoice}@indexcode{LyricVoice}
2232 Corresponds to a voice with lyrics. Handles the printing of a
2233 single line of lyrics.
2235 @item @code{Thread}@indexcode{Thread}
2236 Handles note heads, and is contained in the Voice context. You
2237 have to instantiate this explicitly if you want to adjust the
2238 style of individual note heads.
2240 @item @code{Voice}@indexcode{Voice}
2241 Corresponds to a voice on a staff. This context handles the
2242 conversion of dynamic signs, stems, beams, super- and subscripts,
2243 slurs, ties, and rests.
2245 You have to instantiate this explicitly if you want to have
2246 multiple voices on the same staff.
2248 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2249 A voice with chord names. Handles printing of a line of chord
2252 @item @code{ChordNames}@indexcode{ChordNames}
2253 Typesets chord names. Can contain @code{ChordNamesVoice}
2256 @item @code{Lyrics}@indexcode{Lyrics}
2257 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2259 @item @code{Staff}@indexcode{Staff}
2260 Handles clefs, bar lines, keys, accidentals. It can contain
2261 @code{Voice} contexts.
2263 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2264 A context like @code{Staff} but for printing rhythms. Pitches are
2265 ignored; the notes are printed on one line. It can contain
2266 @code{Voice} contexts.
2268 @item @code{GrandStaff}@indexcode{GrandStaff}
2269 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2270 brace on the left side, grouping the staffs together. The bar
2271 lines of the contained staffs are connected vertically. It can
2272 contain @code{Staff} contexts.
2274 @item @code{PianoStaff}@indexcode{PianoStaff}
2275 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2276 equal to @code{maxVerticalAlign} so that interstaff beaming and
2277 slurring can be used.
2279 @item @code{StaffGroup}@indexcode{StaffGroup}
2280 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2281 bracket on the left side, grouping the staffs together. The bar
2282 lines of the contained staffs are connected vertically. It can
2283 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2284 @code{Lyrics} contexts.
2286 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2287 Identical to @code{StaffGroup} except that the contained staffs
2288 are not connected vertically.
2290 @item @code{Score}@indexcode{Score}
2291 This is the top level notation context. No other context can
2292 contain a @code{Score} context. This context handles the
2293 administration of time signatures. It also makes sure that items
2294 such as clefs, time signatures, and key-signatures are aligned
2295 across staffs. It can contain @code{Lyrics}, @code{Staff},
2296 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2297 @code{ChoirStaff} contexts.
2299 You cannot explicitly instantiate a Score context (since it is
2300 not contained in any other context). It is instantiated
2301 automatically when an output definition (a @code{\score} or
2302 @code{\paper} block) is processed.
2307 Properties that are set in one context are inherited by all of the
2308 contained contexts. This means that a property valid for the
2309 @code{Voice} context can be set in the @code{Score} context (for
2310 example) and thus take effect in all @code{Voice} contexts.
2312 Properties can be preset within the @code{\translator} block
2313 corresponding to the appropriate context. In this case, the syntax
2318 @var{propname} @code{=} @var{value}
2321 This assignment happens before interpretation starts, so a
2322 @code{\property} expression will override any predefined settings.
2324 The @code{\property} expression will create any property you specify.
2325 There is no guarantee that a property will be used. So if you spell
2326 a property name wrong, there will be no error message.
2328 The property settings are used during the interpretation phase. They
2329 are read by the LilyPond modules where interpretation contexts are
2330 built of. These modules are called @emph{translators}. Translators for
2331 notation are called @emph{engravers}, and translators for sound are
2332 called @emph{performers}.
2334 The precise result of a property is determined by the implementation
2335 of the translator that reads them. Therefore, the result of a
2336 property can vary, since it is implementation and configuration
2339 In order to fully find out what properties are used, you must
2340 currently search the source code for calls to @code{get_property}.
2341 The rest of the section is devoted to an (incomplete) overview of
2342 available properties.
2344 @mbinclude properties.itely
2346 @node Notation output definitions, , , Reference Manual
2347 @section Notation output definitions
2351 @cindex notation output
2353 @cindex output definition
2355 @node paper, , , Reference Manual
2357 The most important output definition is the @code{\paper} block, for
2358 music notation. The syntax is
2362 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2365 where each of the items is one of
2368 @item An assignment. The assignment must be terminated by a
2369 semicolon. See section XREF-papervars [FIXME] for information on
2372 @item A context definition. See section XREF-contextdefs [FIXME] for
2373 more information on context definitions.
2375 @item A margin shape declaration. The syntax is
2379 \shape @var{indent1}@code{,} @var{width1}@code{,}
2380 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2385 Each pair of @var{indent} and @var{width} values is a dimension
2386 specifying how far to indent and how wide to make the line.
2387 The indentation and width of successive lines are specified by
2388 the successive pairs of dimensions. The last pair of
2389 dimensions will define the characeristics of all lines beyond
2390 those explicitly specified.
2392 @item A font declaration. Its syntax is
2396 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2399 @var{fontsize} is an integer describing the font to be used.
2400 0 is the default font. @var{fontname} is the basename of
2401 a font (usually a member of the Feta family).
2406 @cindex changing font size and paper size
2408 The Feta font provides musical symbols at six different sizes. These
2409 fonts are 11 point, 13 point, 16 point, 20 point,
2410 23 point, and 26 point. The point size of a font is the
2411 height of the five lines in a staff when displayed in the font.
2413 Definitions for these sizes are the files @file{paperSZ.ly}, where
2414 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2415 any of these files, the identifiers @code{paper_eleven},
2416 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2417 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2418 respectively. The default @code{\paper} block is also set.
2420 To change the paper size, you must first set the
2421 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2422 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2423 you must set the font as described above. If you want the default
2424 font, then use the 20 point font. The new paper size will not
2425 take effect if the font is not loaded and selected afterwards. Paper
2426 size selection works by loading a file named after the paper size you
2431 @cindex paper variables
2433 @node Paper variables, , , Reference Manual
2435 There is a large number of paper variables that are used to control
2436 details of the layout. These variables control the defaults for the
2437 entire score. Usually, they do not have to be changed; they are by
2438 default set to values that depend on the font size in use. The
2439 values are used by the graphic objects while formatting the score;
2440 they are therefore implementation dependent. Most variables are
2441 accompanied by documentation in the initalization file
2442 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2445 Nevertheless, here are some variables you may want to use or change:
2448 @item @code{indent}@indexcode{indent}
2449 The indentation of the first line of music.
2451 @item @code{interline}@indexcode{interline}
2452 The distance between two staff lines, calculated from the center
2453 of the lines. You should use either this or @code{rulethickness}
2454 as a unit for distances you modify.
2456 @item @code{linewidth}@indexcode{linewidth}
2457 Sets the width of the lines. If set to -1.0, a single
2458 unjustified line is produced.
2460 @item @code{output}@indexcode{output}
2461 Specifies an alternate name for the the output @file{s}.
2462 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2463 added to the string you specify.
2465 @item @code{rulethickness}@indexcode{rulethickness}
2466 Determines the thickness of staff and bar lines.
2470 @node contextdefs, , , Reference Manual
2472 @cindex context definition
2474 A notation contexts is defined by the following information
2479 @item The LilyPond modules that do the actual conversion of music to
2480 notation. Each module is a so-called
2485 @item How these modules should cooperate, i.e. which ``cooperation
2486 module'' should be used. This cooperation module is a special
2489 @item What other contexts the context can contain,
2491 @item What properties are defined.
2494 A context definition has this syntax:
2498 \translator @code{@{}
2499 @var{translatorinit} @var{translatormodifierlist}
2503 @var{translatorinit} can be an identifier or of the form
2507 \type @var{typename} @code{;}
2510 @var{typename} is one of
2513 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2514 The standard cooperation engraver.
2516 @item @code{Score_engraver}@indexcode{Score_engraver}
2517 This is cooperation module that should be in the top level context.
2519 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2520 This is a special cooperation module (resembling
2521 @code{Score_engraver}) that is used to created an embedded
2525 @var{translatormodifierlist} is a list of items where each item is
2529 @item @code{\consists} @var{engravername} @code{;}
2530 Add @var{engravername} to the list of modules in this context.
2531 Section XREF-engravers [FIXME] contains an overview of the engravers
2532 available. The order of engravers added with @code{\consists} is
2535 @item @code{\consistsend} @var{engravername} @code{;}
2536 Analogous to @code{\consists}, but makes sure that
2537 @var{engravername} is always added to the end of the list of
2540 Some engraver types need to be at the end of the list; this
2541 insures they are put there, and stay there, if a user adds or
2542 removes engravers. This command is usually not needed for
2545 @item @code{\accepts} @var{contextname} @code{;}
2546 Add @var{contextname} to the list of context this context can
2547 contain. The first listed context the context to create by
2550 @item @code{\remove} @var{engravername} @code{;}
2551 Remove a previously added (with @code{\consists}) engraver.
2553 @item @code{\name} @var{contextname} @code{;}
2554 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2555 the name is not specified, the translator won't do anything.
2557 @item @var{propname} @code{=} @var{value} @code{;}
2558 A property assignment. It is allowed to use reals for
2562 In the @code{\paper} block, it is also possible to define translator
2563 identifiers. Like other block identifiers, the identifier can only
2564 be used as the very first item of a translator. In order to define
2565 such an identifier outside of @code{\score}, you must do
2571 foo = \translator @{ @dots{} @}
2578 \translator @{ \foo @dots{} @}
2586 @cindex paper types, engravers, and pre-defined translators
2588 Some pre-defined identifiers can simplify modification of
2589 translators. The pre-defined identifiers are:
2592 @item @code{StaffContext}@indexcode{StaffContext}
2593 Default Staff context.
2595 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2596 Default RhythmicStaff context.
2598 @item @code{VoiceContext}@indexcode{VoiceContext}
2599 Default Voice context.
2601 @item @code{ScoreContext}@indexcode{ScoreContext}
2602 Default Score context.
2604 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2605 Score context with numbering at the Score level.
2607 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2608 Staff context with numbering at the Staff level.
2610 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2611 Staff context that does not print if it only contains rests.
2612 Useful for orchestral scores.@footnote{Harakiri, also called
2613 Seppuku, is the ritual suicide of the Samourai.}
2615 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2617 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2620 Using these pre-defined values, you can remove or add items to the
2629 \remove Some_engraver;
2630 \consists Different_engraver;
2639 @node engravers, , , Reference Manual
2641 The engravers for paper output are:
2646 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2647 Engraves bar lines. Normally in @code{Staff} and
2648 @code{RhythmicStaff}.
2650 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2651 Engrave bar numbers. These numbers appear at the start of each
2652 line. Not normally in any translator. Can be added to
2653 @code{Score} for score-wide numbering or to @code{Staff} for
2654 numbering on each staff.
2656 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2657 Handles beam requests by engraving beams. Normally appears in
2658 the @code{Voice} translator. If omitted, then notes will be
2659 printed with flags instead of beams.
2661 @item @code{Beam_req_swallow_translator}
2662 @indexcode{Beam_req_swallow_translator}
2663 Swallows beam requests. In @code{LyricVoice}.
2665 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2666 Engraves chord names. Normally in @code{ChordNameVoice} .
2668 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2670 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2671 Engraves the clef symbol. Normally in @code{Staff}.
2673 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2675 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2676 Engraves dots on dotted notes shifted to the right of the note.
2677 Normally in @code{Voice}. If omitted, then dots appear on top of
2680 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2681 Engraves dynamics symbols. Normally in @code{Voice}.
2683 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2685 @item @code{Key_engraver}@indexcode{Key_engraver}
2686 Engraves the key signature. Normally in @code{Staff}.
2688 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2690 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2691 Engraves lyrics. Normally in @code{LyricVoice}.
2693 @item @code{Multi_measure_rest_engraver}
2694 @indexcode{Multi_measure_rest_engraver}
2695 Engraves multi-measure rests that are produced with @code{R}.
2696 Normally in @code{Voice}.
2698 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2700 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2701 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2702 Note that the notes move, but the locations of accidentals stay
2705 @item @code{Priority_horizontal_align_engraver}
2706 @indexcode{Priority_horizontal_align_engraver}
2708 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2709 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2711 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2712 Handles collisions of rests. In @code{Staff}.
2714 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2715 Engraves rests. Normally in @code{Voice}.
2717 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2719 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2721 @item @code{Script_engraver}@indexcode{Script_engraver}
2722 Handles note ornaments generated by @code{\script}. Normally in
2725 @item @code{Separating_line_group_engraver}
2726 @indexcode{Separating_line_group_engraver}
2728 @item @code{Skip_req_swallow_translator}
2729 @indexcode{Skip_req_swallow_translator}
2731 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2732 Engraves slurs. Normally in @code{Voice}.
2734 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2735 Engraves lines across multiple staffs. Normally in
2736 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2737 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2739 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2741 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2743 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2744 Prints the name of the instrument (specified by
2745 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2748 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2750 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2751 Engraves stems. Normally in @code{Voice}.
2753 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2754 Engraves ties. Normally in @code{Voice}.
2756 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2757 Engraves the time signature. Normally in @code{Staff} and
2758 @code{RhythmicStaff}.
2760 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2761 Responsible for synchronizing timing information from staffs.
2762 Normally in @code{Score}. In order to create polyrhythmic music,
2763 this engraver should be removed from @code{Score} and placed in
2766 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2767 Engraves tuplet brackets? In @code{Staff}.
2769 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2774 @node Sound output, , , Reference Manual
2775 @section Sound output
2779 The MIDI block is analogous to the paper block, but it is simpler.
2780 The @code{\midi} block can contain:
2784 @item a @code{\tempo} definition
2785 @item context definitions
2788 Assignments in the @code{\midi} block are not allowed.
2792 @cindex context definition
2794 Context definitions follow precisely the same syntax as within the
2795 \paper block. Translation modules for sound are called performers.
2796 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2800 @cindex MIDI instrument names
2802 @node midilist, , , Reference Manual
2804 The MIDI instrument name is set by the
2805 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2806 if that property is not set, the
2807 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2808 instrument name should be chosen from the following list. If the
2809 selected string does not exactly match, then LilyPond uses the default
2816 "acoustic grand" "contrabass" "lead 7 (fifths)"
2817 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2818 "electric grand" "pizzicato strings" "pad 1 (new age)"
2819 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2820 "electric piano 1" "timpani" "pad 3 (polysynth)"
2821 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2822 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2823 "clav" "synthstrings 1" "pad 6 (metallic)"
2824 "celesta" "synthstrings 2" "pad 7 (halo)"
2825 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2826 "music box" "voice oohs" "fx 1 (rain)"
2827 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2828 "marimba" "orchestra hit" "fx 3 (crystal)"
2829 "xylophone" "trumpet" "fx 4 (atmosphere)"
2830 "tubular bells" "trombone" "fx 5 (brightness)"
2831 "dulcimer" "tuba" "fx 6 (goblins)"
2832 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2833 "percussive organ" "french horn" "fx 8 (sci-fi)"
2834 "rock organ" "brass section" "sitar"
2835 "church organ" "synthbrass 1" "banjo"
2836 "reed organ" "synthbrass 2" "shamisen"
2837 "accordion" "soprano sax" "koto"
2838 "harmonica" "alto sax" "kalimba"
2839 "concertina" "tenor sax" "bagpipe"
2840 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2841 "acoustic guitar (steel)" "oboe" "shanai"
2842 "electric guitar (jazz)" "english horn" "tinkle bell"
2843 "electric guitar (clean)" "bassoon" "agogo"
2844 "electric guitar (muted)" "clarinet" "steel drums"
2845 "overdriven guitar" "piccolo" "woodblock"
2846 "distorted guitar" "flute" "taiko drum"
2847 "guitar harmonics" "recorder" "melodic tom"
2848 "acoustic bass" "pan flute" "synth drum"
2849 "electric bass (finger)" "blown bottle" "reverse cymbal"
2850 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2851 "fretless bass" "whistle" "breath noise"
2852 "slap bass 1" "ocarina" "seashore"
2853 "slap bass 2" "lead 1 (square)" "bird tweet"
2854 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2855 "synth bass 2" "lead 3 (calliope)" "helicopter"
2856 "violin" "lead 4 (chiff)" "applause"
2857 "viola" "lead 5 (charang)" "gunshot"
2858 "cello" "lead 6 (voice)"
2864 @cindex MIDI types and performers
2866 The types available for MIDI translators are:
2869 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2870 @item @code{Score_performer}@indexcode{Score_performer}
2871 @item @code{Staff_performer}@indexcode{Staff_performer}
2874 The performers for MIDI translators are:
2877 @item @code{Key_performer}@indexcode{Key_performer}
2878 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2879 @item @code{Note_performer}@indexcode{Note_performer}
2880 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2881 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2886 @node Pre-defined Identifiers, , , Reference Manual
2888 @section Pre-defined Identifiers
2890 @cindex pre-defined identifiers
2893 Various identifiers are defined in the initialization files to
2894 provide shorthands for some settings. Most of them are in
2895 @file{ly/declarations.ly}.
2898 @item @code{\break}@keyindex{break}
2899 Force a line break in music by using a large argument for the
2900 keyword @code{\penalty}.
2902 @item @code{\center}@keyindex{center}
2903 Used for setting direction properties. Equals 0.
2905 @item @code{\down}@keyindex{down}
2906 Used for setting direction setting properties. Is equal
2909 @item @code{\free}@keyindex{free}
2910 Used for setting direction setting properties. Is equal
2913 @item @code{\left}@keyindex{left}
2914 Used for setting text alignment property. Is equal to -1.
2916 @item @code{\nobreak}@keyindex{nobreak}
2917 Prevent a line break in music by using a large negative argument
2918 for the keyword @code{\penalty}.
2920 @item @code{\none}@keyindex{none}
2921 Used for setting @code{Score.beamslopedamping} and
2922 @code{Score.beamquantisation} properties. Is equal to 0.
2924 @item @code{\normal}@keyindex{normal}
2925 Used for setting @code{Score.beamslopedamping} and
2926 @code{Score.beamquantisation} properties. Is equal to 1.
2928 @item @code{\normalkey}@keyindex{normalkey}
2929 Select normal key signatures where each octave has the same key
2930 signature. This sets the @code{Staff.keyoctaviation} property.
2932 @item @code{\right}@keyindex{right}
2933 Used for setting text alignment property. Is set to 1.
2935 @item @code{\shiftoff}@keyindex{shiftoff}
2936 Disable horizontal shifting of note heads that collide. Sets the
2937 @code{Voice.horizontalNoteShift} property.
2939 @item @code{\shifton}@keyindex{shifton}
2940 Enable note heads that collide with other note heads to be
2941 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2944 @item @code{\slurboth}@keyindex{slurboth}
2945 Allow slurs to be above or below notes. This sets the
2946 @code{Voice.slurVerticalDirection} property.
2948 @item @code{\slurdown}@keyindex{slurdown}
2949 Force slurs to be below notes. This sets the
2950 @code{Voice.slurVerticalDirection} property.
2952 @item @code{\slurup}@keyindex{slurup}
2953 Force slurs to be above notes. This sets the
2954 @code{Voice.slurVerticalDirection} property.
2956 @item @code{\specialkey}@keyindex{specialkey}
2957 Allow key signatures do differ in different octaves. This sets
2958 the @code{Staff.keyoctaviation} property.
2960 @item @code{\stemboth}@keyindex{stemboth}
2961 Allow stems, beams, and slurs to point either upwards or
2962 downwards, decided automatically by LilyPond. This sets the
2963 @code{Voice.verticalDirection} property.
2965 @item @code{\stemdown}@keyindex{stemdown}
2966 Force stems, beams, and slurs to point down. This sets the
2967 @code{Voice.verticalDirection} property.
2969 @item @code{\stemup}@keyindex{stemup}
2970 Force stems, beams and slurs to point up. This sets the
2971 @code{Voice.verticalDirection} property.
2973 @item @code{\traditional}@keyindex{traditional}
2974 Used for setting the @code{Score.beamquantisation} property. Is
2977 @item @code{\up}@keyindex{up}
2978 Used for setting various direction properties. Is equal