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.
241 Formed from an optional minus sign followed by digits. Arithmetic
242 operations cannot be done with integers, and integers cannot be mixed
250 Formed from an optional minus sign and a sequence of digits followed
251 by a @emph{required} decimal point and an optional exponent such as
252 @code{-1.2e3}. Reals can be built up using the usual operations:
253 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
254 `@code{/}@indexcode{/}', with parentheses for grouping.
256 A real constant can be followed by one of the dimension
259 @code{\mm}@keyindex{mm},
260 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
261 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
262 centimeters, respectively. This converts the number to a real that
263 is the internal representation of dimensions.
270 Begins and ends with the `@code{"}' character. To include a `@code{"}'
271 character in a string write `@code{\"}'. Various other backslash
272 sequences have special interpretations as in the C language. A
273 string that contains no spaces can be written without the quotes.
274 See section XREF-modes [FIXME] for details on unquoted strings; their
275 interpretation varies depending on the situation. Strings can be
276 concatenated with the `@code{+}' operator.
279 The tokenizer accepts the following commands. They can appear
283 \maininput@keyindex{maininput}
286 This command is used in init files to signal that the user file must
287 be read. This command cannot be used in a user file.
290 \include@keyindex{include} @var{file}
293 Include @var{file}. The argument @var{file} may be a quoted string (an
294 unquoted string will not work here!) or a string identifier. The full
295 filename including the @file{.ly} extension must be given,
298 \version@keyindex{version} @var{string} ;
301 Specify the version of LilyPond that a file was written for. The
302 argument is a version string in quotes, for example @code{"1.2.0"}.
303 This is used to detect invalid input, and to aid
304 @code{convert-mudela}, a tool that automatically upgrades input files.
308 @cindex other languages
310 @node Other languages, , , Reference Manual
312 Note name definitions have been provided in various languages.
313 Simply include the language specific init file. For example:
314 `@code{\include "english.ly"}'. The available language files and the
315 names they define are:
320 Note Names sharp flat
321 nederlands.ly c d e f g a bes b -is -es
322 english.ly c d e f g a bf b -s/-sharp -f/-flat
323 deutsch.ly c d e f g a b h -is -es
324 norsk.ly c d e f g a b h -iss/-is -ess/-es
325 svenska.ly c d e f g a b h -iss -ess
326 italiano.ly do re mi fa sol la sid si -d -b
327 catalan.ly do re mi fa sol la sid si -d/-s -b
332 Pitch names can be redefined using the
333 @code{\notenames}@keyindex{notenames} command, see
334 subsection XREF-notenames [FIXME].
338 @cindex lexical modes
342 @node modes, , , Reference Manual
344 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
345 special input modes on top of the default mode. In each mode, words
346 are identified on the input. If @code{"word"} is encountered, it is
347 treated as a string. If @code{\word} is encountered, it is treated as
348 a keyword or as an identifier. The behavior of the modes differs in
349 two ways: Different modes treat unquoted words differently, and
350 different modes have different rules for deciding what is a word.
356 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
357 mode, a word is an alphabetic character followed by alphanumeric
358 characters. If @code{word} is encountered on the input it is
364 Note mode is introduced by the keyword
365 @code{\notes}@keyindex{notes}. In Note mode, words can only
366 contain alphabetic characters. If @code{word} is encountered,
367 LilyPond first checks for a notename of @code{word}. If no
368 notename is found, then @code{word} is treated as a string.
370 Since combinations of numbers and dots are used for indicating
371 durations, it is not possible to enter real numbers in this mode.
376 Chord mode is introduced by the keyword
377 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
378 words are also looked up in a chord modifier table (containing
379 @code{maj}, @code{dim}, etc).
381 Since combinations of numbers and dots are used for indicating
382 durations, you can not enter real numbers in this mode. Dashes
383 and carets are used to indicate chord additions and subtractions,
384 so scripts can not be entered in Chord mode.
389 Lyrics mode is introduced by the keyword
390 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
391 easy to include punctuation and diacritical marks in words. A
392 word in Lyrics mode begins with: an alphabetic character,
393 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
394 control characters @code{^A} through @code{^F}, @code{^Q} through
395 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
396 over 127, or a two-character combination of a backslash followed
397 by one of `@code{`}', `@code{'}', `@code{"}', or
398 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
399 enter lyrics in TeX format or a standard encoding without
400 needing quotes. The precise definition of this mode indeed is
401 ludicrous. This will remain so until the authors of LilyPond
402 acquire a deeper understanding of character encoding, or someone
403 else steps up to fix this.}
405 Subsequent characters of a word can be any character that is not
406 a digit and not white space. One important consequence of this
407 is that a word can end with `@code{@}}', which may be confusing if
408 you thought the closing brace was going to terminate Lyrics
409 mode.@footnote{LilyPond will issue a warning, though.} Any
410 `@code{_}' characters which appear in an unquoted word are
411 converted to spaces. This provides a mechanism for introducing
412 spaces into words without using quotes. Quoted words can also be
413 used in Lyrics mode to specify words that cannot be written with
414 the above rules. Here are some examples. Not all of these words
415 are printable by TeX.
422 2B_||_!2B % not a word because it starts with a digit
423 ``Hello'' % not a word because it starts with `
424 _ _ _ _ % 4 words, each one a space
429 Since combinations of numbers and dots are used for indicating
430 durations, you can not enter real numbers in this mode.
433 It is possible to create words that break the rules by prefixing them
434 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
435 word beginning with `@code{$}' extends until the next white space
436 character. Such words can contain numbers (even in Note mode), or
437 other forbidden characters. The dollar sign can be used to create
438 and access identifiers that could not otherwise be used.@footnote{Use
439 of `@code{$}' hampers readability and portability to future LilyPond
440 versions, thus the use of the dollar sign is discouraged.}
444 @node Types, , , Reference Manual
447 @cindex types and identifiers
449 @emph{Mudela} has a limited set of types:
455 @item music expressions
456 @item durations of notes and rests (specified with
457 @code{\notenames}@keyindex{notenames})
458 @item note name tables
459 @item context definitions, part of output definitions. See
460 section XREF-contextdefs [FIXME] for more information
461 @item output definitions (like @code{\paper}@keyindex{paper} blocks
462 and @code{\midi}@keyindex{midi} blocks)
463 @item score definitions (@code{\score}@keyindex{score} blocks)
466 Type is a syntactical property: @emph{Mudela} has no real type system,
467 so there is no support for generic expressions, functions, or user
468 defined types. For the same reason, it is not possible to mix reals
469 and integers in arithmetic expressions, and ``type
472 (e.g., using a string identifier to
473 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
476 Identifiers allow objects to be assigned to names. To assign an
477 identifier, you use `@var{name}=@var{value}' and to refer to an
478 identifier, you preceed its name with a backslash:
479 `@code{\}@var{name}'. Identifier assignments must appear at top level
480 in the @emph{Mudela} file. Semicolons are forbidden after assignments
481 appearing at top level but they are obligatory after assignments
482 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
484 @var{value} is any of the types listed above.
486 An identifier can be created with any string for its name, but you
487 will only be able to refer to identifiers whose names begin with a
488 letter, being entirely alphanumeric. It is impossible to refer to an
489 identifier whose name is the same as the name of a keyword.
491 The right hand side of an identifier assignment is parsed completely
492 before the assignment is done, so it is allowed to redefine an
493 identifier in terms of its old value, e.g.
499 When an identifier is referenced, the information it points to is
500 copied. Therefore it only makes sense to put identifiers for
501 translators, output definitions, and @code{\score}@keyindex{score}
502 blocks as the first item in a block. For this reason, if you
503 reference a @code{\foo} variable in a @code{\foo} block, it must be the
504 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
505 \two@}} does not make sense, because the information of @code{\two}
506 would overwrite the information of @code{\one}, thereby making the
507 reference to the first identifier useless.}
511 @node Music expressions, , , Reference Manual
512 @section Music expressions
514 @cindex music expressions
516 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
517 lyric syllables are music expressions (the atomic
519 @cindex atomic music expressions
520 , and you can combine
521 music expressions to form new ones. This example forms a compound
522 expressions out of the quarter @code{c} note and a @code{d}
526 \sequential @{ c4 d4 @}
529 The meaning of this compound expression is to play the `@code{c}'
530 first, and then the `@code{d}' (as opposed to playing them
531 simultaneously, for instance).
533 Atomic music expression are discussed in
534 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
535 discussed in subsection XREF-compoundmusic [FIXME].
539 @node Atomic music expressions, , , Reference Manual
540 @section Atomic music expressions
550 The syntax for pitch specification is
554 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
557 @var{octave} is specified by an integer, zero for the octave
558 containing middle C. @var{note} is a number from 0 to 7, with 0
559 corresponding to C and 7 corresponding to B. The shift is zero for a
560 natural, negative to add flats, or positive to add sharps.
562 In Note and Chord mode, pitches may be designated by names. See
563 section XREF-notelang [FIXME] for pitch names in different languages.
565 The syntax for duration specification is
568 \duration@keyindex{duration}
569 @{ @var{length} @var{dotcount} @}
572 @var{length} is the negative logarithm (base 2) of the duration:
573 1 is a half note, 2 is a quarter note, 3 is an eighth
574 note, etc. The number of dots after the note is given by
577 In Note, Chord, and Lyrics mode, durations may be designated by
578 numbers and dots. See Section XREF-notelang [FIXME] for details.
581 @node Note specification, , , Reference Manual
583 @cindex note specification
587 @cindex entering notes
589 A note specification has the form
592 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
595 The pitch of the note is specified by the note's name.
598 The default names are the Dutch note names. The notes are specified
599 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
600 octave below middle C and the letters span the octave above that C.
601 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
602 `@code{-is}' to the end of a pitch name. A flat is formed by adding
603 `@code{-es}'. Double sharps and double flats are obtained by adding
604 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
605 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
608 LilyPond has predefined sets of notenames for various languages. See
609 section XREF-notelang [FIXME] for details.
612 The optional octave specification takes the form of a series of
613 single quote (`@code{'}@indexcode{'}') characters or a series of comma
614 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
615 octave; each @code{,} lowers the pitch by an octave.
617 @mudela[fragment,verbatim,center]
618 c' d' e' f' g' a' b' c''
621 @mudela[fragment,verbatim,center]
622 cis' dis' eis' fis' gis' ais' bis'
625 @mudela[fragment,verbatim,center]
626 ces' des' es' fes' ges' as' bes'
629 @mudela[fragment,verbatim,center]
630 cisis' eisis' gisis' aisis' beses'
633 @mudela[fragment,verbatim,center]
634 ceses' eses' geses' ases' beses'
637 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
638 will determine what accidentals to typeset depending on the key and
639 context. A reminder accidental
640 @cindex reminder accidental
642 forced by adding an exclamation mark `@code{!}' after the pitch. A
643 cautionary accidental,
644 @cindex cautionary accidental
646 accidental within parentheses can be obtained by adding the question
647 mark `@code{?}@indexcode{?}' after the pitch.
649 @mudela[fragment,verbatim,center]
650 cis' d' e' cis' c'? d' e' c'!
656 Durations are entered as their reciprocal values. For notes longer
657 than a whole note, use identifiers.
663 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
672 \notes \relative c'' {
674 a1 a2 a4 a8 a16 a32 a64 a64
677 loose_column_distance = 2.5 * \interline;
680 \type "Score_engraver";
682 \consists "Note_heads_engraver";
683 \consists "Stem_engraver";
684 \consists "Rhythmic_column_engraver";
695 r1 r2 r4 r8 r16 r32 r64 r64
704 \notes \relative c'' {
706 r1 r2 r4 r8 r16 r32 r64 r64
709 loose_column_distance = 2.5 * \interline;
712 \type "Score_engraver";
714 \consists "Rest_engraver";
715 \consists "Stem_engraver";
716 \consists "Rhythmic_column_engraver";
723 If the duration is omitted then it is set equal to the previous
724 duration. If there is no previous duration, a quarter note is
725 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
726 to obtain dotted note lengths.
728 @mudela[fragment,verbatim,center]
732 You can alter the length of duration by writing
733 `@code{*}@var{fraction}' after it. This will not affect the
734 appearance of note heads or rests.
737 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
738 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
739 which produces a space of the specified duration.
740 `@code{R}' is specifically meant for entering parts: the @code{R} rest
741 can expand to fill a score with rests, or it can be printed as a
742 single multimeasure rest.
745 @cindex lyrics expressions
747 Syllables are entered like notes, with pitches replaced by text. For
748 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
749 with quarter note duration. Note that the hyphen has no special
750 meaning for lyrics, and does not introduce special symbols. See
751 section XREF-modes [FIXME] for a description of what is interpreted as
754 Spaces can be introduced into a lyric either by using quotes
755 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
756 not4}'. All unquoted underscores are converted to spaces. Printing
757 lyrics is discussed in section XREF-lyricprint [FIXME].
764 \property@keyindex{property}
765 @var{contextname}.@var{propname} = @var{value}
768 Sets the @var{propname} property of the context @var{contextname} to
769 the specified @var{value}. All three arguments are strings.
770 Depending on the context, it may be necessary to quote the strings or
771 to leave space on both sides of the dot.
775 @cindex translator switches
778 \translator@keyindex{translator}
779 @var{contexttype} = @var{name}
782 A music expression indicating that the context which is a direct
783 child of the a context of type @var{contexttype} should be shifted to
784 a context of type @var{contexttype} and the specified name.
786 Usually this is used to switch staffs in Piano music, e.g.
789 \translator Staff = top @var{Music}
796 Commands are music expressions that have no duration.
801 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
804 Change the key signature. @var{type} should be
805 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
806 @var{pitch}-major or @var{pitch}-minor, respectively. The second
807 argument is optional; the default is major keys. The @var{\context}
808 argument can also be given as an integer, which tells the number of
809 semitones that should be added to the pitch given in the subsequent
810 @code{\key}@keyindex{key} commands to get the corresponding major key,
811 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
812 mode names @code{\ionian}@keyindex{ionian},
813 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
814 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
815 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
820 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
823 Specify an arbitrary key signature. The pitches from @var{pitch} will
824 be printed in the key signature in the order that they appear on the
829 \mark@keyindex{mark} @var{unsigned};
833 Prints a mark over or under (depending on the
834 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
835 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
838 @node barlines, , , Reference Manual
841 \bar@keyindex{bar} @var{bartype};
844 This is a request to print a special bar symbol. It replaces the
845 regular bar symbol with a special
846 symbol. The argument @var{bartype} is a string which specifies the
847 kind of bar to print. Options are @code{":|"}
848 @cindex "|A@@@code{:|}
851 @cindex "|B@@@code{|:}
853 @cindex "|C@@@code{:|:}
856 @cindex "|D@@@code{||}
858 @cindex "|E@@@code{|.}
861 @cindex "|F@@@code{.|}
863 @cindex "|G@@@code{.|.}
865 These produce, respectively, a right repeat, a left repeat, a double
866 repeat, a double bar, a start bar, an end bar, and a thick double
867 bar. If @var{bartype} is set to @code{"empty"} then nothing is
868 printed, but a line break is allowed at that spot.
870 You are encouraged to use @code{\repeat} for repetitions.
871 See section XREF-sec-repeats [FIXME].
876 \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
879 Music expression that toggles the automatic generation of bar lines.
880 If @var{togglevalue} is 1, bar line generation is turned off. If
881 @var{togglevalue} is 0, a bar line is immediately printed and
882 automatic bar generation is turned on.
886 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
889 Change the time signature. The default time signature is 4/4.
890 The time signature is used to generate bar lines.
894 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
897 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
898 requests output with 76 quarter notes per minute.
902 \partial@keyindex{partial} @var{duration} @code{;}
909 This creates an incomplete measure (anacrusis, upbeat) at the start of
910 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
911 lasting two eighth notes.
915 @code{|}@indexcode{|}
920 @cindex shorten measures
924 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
925 interpretation, a warning message is issued if it doesn't fall at a
926 measure boundary. This can help you finding errors in the input.
927 The beginning of the measure will be relocated, so this can also
928 be used to shorten measures.
933 \penalty@keyindex{penalty} @var{int} @code{;}
936 Discourage or encourage line breaks. See identifiers
937 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
938 section [on identifiers] [FIXME].
942 \clef@keyindex{clef} @var{clefname} @code{;}
945 Music expression that sets the current clef. The argument is a
946 string which specifies the name of the clef. Several clef names are
947 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
948 name, then the clef lowered or raised an octave will be generated.
949 Here are the supported clef names with middle C shown in each
958 %\property Voice.textStyle = typewriter
959 \clef subbass; c'4-"\kern -5mm subbass"
960 \clef bass; c'4^"\kern -2mm bass"
961 \clef baritone; c'4_"\kern -5mm baritone"
962 \clef varbaritone; c'4^"\kern -6mm varbaritone"
963 \clef tenor; c'4_"\kern -3mm tenor"
964 \clef "G_8"; c'4^"\kern -2mm G\\_8"
979 \clef alto; c'4_"\kern -2mm alto"
980 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
981 \clef soprano; c'4_"\kern -6mm soprano"
982 \clef treble; c'4^"\kern -4mm treble"
983 \clef french; c'4_"\kern -4mm french"
992 The three clef symbols can also be obtained using the names `@code{G}',
993 `@code{C}' or `@code{F}', optionally followed by an integer which
994 indicates at which note line the clef is located. An as example, the
995 @code{mezzosoprano} clef can also be given as `@code{C2}'.
999 \skip@keyindex{skip} @var{duration} @code{;}
1002 Skips the amount of time specified by @var{duration}. If no other
1003 music is played, a gap will be left for the skipped time with no
1004 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
1005 this has the same effect as the space rest `@code{s}'.
1010 @node Manual beams, , , Reference Manual
1012 A beam is specified by surrounding the beamed notes with brackets
1013 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1015 @mudela[fragment,verbatim,center]
1016 [a'8 a'] [a'16 a' a' a']
1019 Some more elaborate constructions:
1021 @mudela[fragment,verbatim,center]
1022 [a'16 <a' c''> c'' <a' c''>]
1023 \times 2/3 { [e'8 f' g'] }
1026 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1028 To place tremolo marks
1029 @cindex tremolo beams
1030 between two notes, begin
1031 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1032 will appear instead of beams. Putting more than two notes in such a
1033 construction will produce odd effects. To create tremolo beams on a
1034 single note, simply attach `@code{:}@var{length}' to the note itself
1035 (see also section XREF-tremolo [FIXME]).
1037 @mudela[fragment,verbatim,center]
1038 [:16 e'1 g'] [:8 e'4 f']
1041 @mudela[fragment,verbatim,center]
1042 c'4:32 [:16 c'8 d'8]
1046 @cindex --@@@code{-}@code{-}
1054 The syntax for an extender mark is `@code{__}'. This syntax can only
1055 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1056 a hyphen that will be printed between two lyric syllables) is
1062 A tie connects two adjacent note heads of the same pitch. When used
1063 with chords, it connects all of the note heads whose pitches match.
1064 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1065 If you try to tie together chords which have no common pitches, a
1066 warning message will appear and no ties will be created.
1068 @mudela[fragment,verbatim,center]
1069 e' ~ e' <c' e' g'> ~ <c' e' g'>
1074 [TODO: explain Requests]
1077 @cindex articulations
1083 A variety of symbols can appear above and below notes to indicate
1084 different characteristics of the performance. These symbols can be
1085 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1086 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1087 forced to appear above or below the note by writing
1088 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1089 respectively. Here is a chart showing symbols above notes, with the
1090 name of the corresponding symbol appearing underneath.
1096 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1097 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1098 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1099 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1100 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1101 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1102 c''-\thumb c''-\segno c''-\coda
1104 \context Lyrics \lyrics {
1105 accent__ marcato__ staccatissimo__ fermata
1106 stopped__ staccato__ tenuto__ upbow
1107 downbow__ lheel__ rheel__ ltoe
1108 rtoe__ turn__ open__ flageolet
1109 reverseturn__ trill__ prall__ mordent
1110 prallprall__ prallmordent__ uprall__ downprall
1111 thumb__ segno__ coda
1115 linewidth = 5.875\in;
1122 In addition, it is possible to place arbitrary strings of text or
1123 TeX above or below notes by using a string instead of an
1124 identifier: `@code{c^"text"}'. Fingerings
1127 placed by simply using digits. All of these note ornaments appear in
1128 the printed output but have no effect on the MIDI rendering of the
1131 To save typing, fingering instructions (digits 0 to 9 are
1132 supported) and single characters shorthands exist for a few
1139 \property Voice.textStyle = typewriter
1145 c''4-^_"c-\\^{ }" s4
1152 linewidth = 5.875 \in;
1159 Dynamic marks are specified by using an identifier after a note:
1160 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1161 The available dynamic marks are:
1162 @code{\ppp}@keyindex{ppp},
1163 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1164 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1165 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1166 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1167 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1168 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1169 @code{\rfz}@keyindex{rfz}.
1174 \textscript@keyindex{textscript} @var{text} @var{style}
1177 Defines a text to be printed over or under a note. @var{style} is a
1178 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1179 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1181 You can attach a general textscript request using this syntax:
1186 c4-\textscript "6" "finger"
1187 c4-\textscript "foo" "normal"
1192 This is equivalent to `@code{c4-6 c4-"foo"}'.
1199 \script@keyindex{script} @var{alias}
1202 Prints a symbol above or below a note. The argument is a string
1203 which points into the script-alias table defined in @file{script.scm}.
1204 The scheme definitions specify whether the symbol follows notes into
1205 the staff, dependence of symbol placement on staff direction, and a
1206 priority for placing several symbols over one note. Usually the
1207 @code{\script}@keyindex{script} keyword is not used directly. Various
1208 helpful identifier definitions appear in @file{script.ly}.
1213 Slurs connects chords and try to avoid crossing stems. A slur is
1214 started with `@code{(}' and stopped with `@code{)}'. The
1215 starting `@code{(}' appears to the right of the first note in
1216 the slur. The terminal `@code{)}' appears to the left of the
1217 first note in the slur. This makes it possible to put a note in
1218 slurs from both sides:
1220 @mudela[fragment,verbatim,center]
1221 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1227 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1228 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1229 @code{\decr}@keyindex{decr} and terminated with
1230 @code{\rced}@keyindex{rced}. There are also shorthands for these
1231 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1232 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1233 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1234 must go before the last note of the dynamic mark whereas @code{\rc}
1235 and @code{\rced} go after the last note. Because these marks are
1236 bound to notes, if you want to get several marks during one note, you
1237 must use spacer notes.
1239 @mudela[fragment,verbatim,center]
1240 c'' \< \! c'' d'' \decr e'' \rced
1241 < f''1 { s4 \< \! s2 \> \! s4 } >
1247 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1250 Define a spanning request. The @var{startstop} parameter is either -1
1251 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1252 @var{type} is a string that describes what should be started.
1253 Supported types are @code{crescendo}, @code{decrescendo},
1254 @code{beam}, @code{slur}. This is an internal command. Users should
1255 use the shorthands which are defined in the initialization file
1258 You can attach a (general) span request to a note using
1260 @mudela[fragment,verbatim,center]
1261 c'4-\spanrequest \start "slur"
1262 c'4-\spanrequest \stop "slur"
1265 The slur syntax with parentheses is a shorthand for this.
1269 @cindex tremolo marks
1271 @node tremolo, , , Reference Manual
1273 Tremolo marks can be printed on a single note by adding
1274 `@code{:}[@var{length}]' after the note. The length must be at
1275 least 8. A @var{length} value of 8 gives one line across
1276 the note stem. If the length is omitted, then the last value is
1277 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1280 @mudela[verbatim,fragment,center]
1286 @node Compound music expressions, , , Reference Manual
1287 @section Compound music expressions
1289 @cindex compound music expressions
1291 Music expressions are compound data structures. You can nest music
1292 expressions any way you like. This simple example shows how three
1293 chords can be expressed in two different ways:
1295 @mudela[fragment,verbatim,center]
1296 \notes \context Staff {
1298 <a c'> <b d' > <c' e'>
1299 < { a b c' } { c' d' e' } >
1303 @cindex context selection
1304 @c @keyindex{context}
1307 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1310 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1311 If the context does not exist, it will be created. The new context
1312 can optionally be given a name. See
1313 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1314 information on interpretation contexts.
1322 Mode switching keywords form compound music expressions: @code{\notes}
1323 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1324 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1325 These expressions do not add anything to the meaning of their
1326 arguments. They are just a way to indicate that the arguments should
1327 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1328 information on modes.
1330 More information on context selection can be found in
1331 section XREF-contextselection [FIXME].
1335 @cindex sequential music
1341 \sequential@keyindex{sequential}
1342 @code{@{} @var{musicexprlist} @code{@}}
1345 This means that list should be played or written in sequence, i.e.,
1346 the second after the first, the third after the second. The duration
1347 of sequential music is the the sum of the durations of the elements.
1348 There is a shorthand, which leaves out the keyword:
1352 @code{@{} @var{musicexprlist} @code{@}}
1357 @cindex simultaneous music
1364 \simultaneous@keyindex{simultaneous}
1365 @code{@{} @var{musicexprlist} @code{@}}
1368 It constructs a music expression where all of its arguments start at
1369 the same moment. The duration is the maximum of the durations of the
1370 elements. The following shorthand is a common idiom:
1374 @code{<} @var{musicexprlist} @code{>}
1377 If you try to use a chord as the first thing in your score, you might
1378 get multiple staffs instead of a chord.
1380 @mudela[verbatim,center]
1389 This happens because the chord is interpreted by a score context.
1390 Each time a note is encountered a default Voice context (along with a
1391 Staff context) is created. The solution is to explicitly instantiate
1394 @mudela[verbatim,center]
1396 \notes\context Voice <c''4 e''>
1405 @cindex relative pitch specification
1407 @node relative, , , Reference Manual
1409 It is easy to get confused by octave changing marks and accidentally
1410 putting a pitch in the wrong octave. A much better way of entering a
1411 note's octave is `the relative octave' mode.
1415 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1418 The octave of notes that appear in @var{musicexpr} are calculated as
1419 follows: If no octave changing marks are used, the basic interval
1420 between this and the last note is always taken to be a fourth or
1421 less.@footnote{The interval is determined without regarding
1422 accidentals. A @code{fisis} following a @code{ceses} will be put above
1423 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1424 can then be added to raise or lower the pitch by an extra octave.
1425 Upon entering relative mode, an absolute starting pitch must be
1426 specified that will act as the predecessor of the first note of
1429 Entering scales is straightforward in relative mode.
1431 @mudela[fragment,verbatim,center]
1437 And octave changing marks are used for intervals greater than a fourth.
1439 @mudela[fragment,verbatim,center]
1441 c g c f, c' a, e'' }
1444 If the preceding item is a chord, the first note of the chord is used
1445 to determine the first note of the next chord. But other notes
1446 within the second chord are determined by looking at the immediately
1449 @mudela[fragment,verbatim,center]
1457 The pitch after the @code{\relative} contains a notename. To parse
1458 the pitch as a notename, you have to be in note mode, so there must
1459 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1462 The relative conversion will not affect @code{\transpose} or
1463 @code{\relative} sections in its argument. If you want to use
1464 relative within transposed music, you must place an additional
1465 @code{\relative} inside the @code{\transpose}.
1467 It is strongly recommended to use relative pitch mode: less work,
1468 less error-prone, and more readable.
1472 Chord names are a way to generate simultaneous music expressions that
1473 correspond with traditional chord names. It can only be used in
1474 Chord mode (see section XREF-modes [FIXME]).
1478 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
1481 @var{tonic} should be the tonic note of the chord, and @var{duration}
1482 is the chord duration in the usual notation. There are two kinds of
1483 modifiers. One type is @emph{chord additions}, which are obtained by
1484 listing intervals separated by dots. An interval is written by its
1485 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1486 lowering by half a step. Chord additions has two effects: It adds
1487 the specified interval and all lower odd numbered intervals to the
1488 chord, and it may lower or raise the specified interval. Intervals
1489 must be separated by a dot (`@code{.}').
1493 @mudela[fragment,verbatim]
1497 c-9 c-9-.5+.7+ c-3-.5- c-4.6.8
1504 The second type of modifier that may appear after the `@code{-}' is a
1505 named modifier. Named modifiers are listed in the file
1506 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1507 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1508 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1509 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1510 which replaces the 5th with a 4th.
1514 @mudela[fragment,verbatim]
1517 c1-m c-min7 c-maj c-aug c-dim c-sus
1525 Chord subtractions are used to eliminate notes from a chord. The
1526 notes to be subtracted are listed after a `@code{^}' character,
1529 @mudela[fragment,verbatim,center]
1537 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1538 the name of a single note to a chord. This has the effect of
1539 lowering the specified note by an octave so it becomes the lowest
1540 note in the chord. If the specified note is not in the chord, a
1541 warning will be printed.
1543 @mudela[fragment,verbatim,center]
1552 Throughout these examples, chords have been shifted around the staff
1553 using @code{\transpose}.
1555 You should not combine @code{\relative} with named chords.
1561 Tuplets are made out of a music expression by multiplying their
1562 duration with a fraction.
1566 \times@keyindex{times} @var{fraction} @var{musicexpr}
1569 The duration of @var{musicexpr} will be multiplied by the fraction.
1570 In print, the fraction's denominator will be printed over the notes,
1571 optionally with a bracket. The most common tuplet is the triplet in
1572 which 3 notes have the length of 2, so the notes are 2/3 of
1573 their written length:
1575 @mudela[fragment,verbatim,center]
1576 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1585 \grace@keyindex{grace} @var{musicexpr}
1588 A grace note expression has duration 0; the next real note is
1589 assumed to be the main note.
1591 You cannot have the grace note after the main note, in terms of
1592 duration, and main notes, but you can typeset the grace notes to the
1593 right of the main note using the property
1594 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1596 When grace music is interpreted, a score-within-a-score is set up:
1597 @var{musicexpr} has its own time bookkeeping, and you could (for
1598 example) have a separate time signature within grace notes. While in
1599 this score-within-a-score, you can create notes, beams, slurs, etc.
1600 Unbeamed eighth notes and shorter by default have a slash through the
1601 stem. This behavior can be controlled with the
1602 @code{stemStyle}@indexcode{stemStyle} property.
1606 @mudela[fragment,verbatim]
1608 \grace c8 c4 \grace { [c16 c16] } c4
1609 \grace { \property Grace.stemStyle = "" c16 } c4
1615 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1619 @code{\grace @{ \grace c32 c16 @} c4}
1622 may result in run-time errors of LilyPond. Since the meaning of such
1623 a construct is unclear, we don't consider this a loss. Similarly,
1624 juxtaposing two @code{\grace} sections is syntactically valid, but
1625 makes no sense and may cause runtime errors.
1627 Ending a staff or score with grace notes may also generate a run-time
1628 error, since there will be no main note to attach the grace notes to.
1634 @node Repeats, , , Reference Manual
1636 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1637 keyword. Since repeats look and sound differently when played or
1638 printed, there are a few different variants of repeats.
1642 Repeated music is fully written (played) out. Useful for MIDI
1646 This is the normal notation: Repeats are not written out, but
1647 alternative endings (voltas) are printed, left to right.
1650 Alternative endings are written stacked, which is useful for
1654 The syntax for repeats is
1658 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1661 If you have alternative endings, you may add
1665 \alternative@keyindex{alternative}
1666 @code{@{} @var{alternative1}
1668 @var{alternative3} @dots{} @code{@}}
1671 where each @var{alternative} is a Music expression.
1673 Normal notation repeats are used like this:
1677 @mudela[fragment,verbatim]
1679 \repeat volta 2 { c'4 d' e' f' }
1680 \repeat volta 2 { f' e' d' c' }
1685 With alternative endings:
1689 @mudela[fragment,verbatim]
1691 \repeat volta 2 {c'4 d' e' f'}
1692 \alternative { {d'2 d'} {f' f} }
1697 Folded repeats look like this:@footnote{Folded repeats offer little
1698 more over simultaneous music. However, it is to be expected that
1699 more functionality -- especially for the MIDI backend -- will be
1704 @mudela[fragment,verbatim]
1706 \repeat fold 2 {c'4 d' e' f'}
1707 \alternative { {d'2 d'} {f' f} }
1714 @mudela[fragment,verbatim]
1718 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1719 \alternative { { g4 g g } { a | a a a a | b1 } }
1726 If you don't give enough alternatives for all of the repeats, then
1727 the first alternative is assumed to be repeated often enough to equal
1728 the specified number of repeats.
1732 @mudela[fragment,verbatim]
1735 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1736 \alternative { { g4 g g }
1737 {\partial 1; e4 e e }
1738 {\partial 1; a a a a | b1 } }
1745 It is possible to nest @code{\repeat}. This is not entirely
1746 supported: the notes will come be in the right places, but the repeat
1751 @cindex transposition of pitches
1753 @node transpose, , , Reference Manual
1755 A music expression can be transposed with
1756 @code{\transpose}@keyindex{transpose}. The syntax is
1760 \transpose @var{pitch} @var{musicexpr}
1763 This means that middle C in @var{musicexpr} is transposed to
1766 @code{\transpose} distinguishes between enharmonic pitches: both
1767 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1768 a tone. The first version will print sharps and the second version
1773 @mudela[fragment,verbatim]
1778 \transpose des'' { \key e; c d e f }
1779 \transpose cis'' { \key e; c d e f }
1785 If you want to use both @code{\transpose} and @code{\relative}, then
1786 you must use @code{\transpose} first. @code{\relative} will have no
1787 effect music that appears inside a @code{\transpose}.
1791 @cindex automatic lyric durations
1793 If you have lyrics that are set to a melody, you can import the
1794 rhythm of that melody into the lyrics using @code{\addlyrics}.
1795 @keyindex{addlyrics} The syntax for this is
1799 \addlyrics @var{musicexpr1 musicexpr2}
1802 This means that both @var{musicexpr1} and @var{musicexpr2} are
1803 interpreted, but that every non-command atomic music expression
1804 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1805 of @var{musicexpr1}.
1807 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1808 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1813 @mudela[verbatim,fragment]
1816 \property Voice.automaticMelismata = "1"
1817 c8 () cis d8. e16 f2
1819 \context Lyrics \lyrics {
1825 You should use a single rhythm melody, and single rhythm lyrics (a
1826 constant duration is the obvious choice). If you do not, you will get
1827 undesired effects when using multiple stanzas:
1831 @mudela[verbatim,fragment]
1834 c8 () cis d8. e16 f2
1836 \context Lyrics \lyrics
1843 It is valid (but probably not very useful) to use notes instead of
1844 lyrics for @var{musicexpr2}.
1849 @node Ambiguities, , , Reference Manual
1850 @section Ambiguities
1854 The grammar contains a number of ambiguities.@footnote{The authors
1855 hope to resolve them at a later time.}
1858 @item The assignment
1864 can be interpreted as making a string identifier @code{\foo}
1865 containing @code{"bar"}, or a music identifier @code{\foo}
1866 containing the syllable `bar'.
1868 @item The assignment
1874 can be interpreted as making an integer identifier
1875 containing -6, or a Request identifier containing the
1876 fingering `6' (with neutral direction).
1878 @item If you do a nested repeat like
1890 then it is ambiguous to which @code{\repeat} the
1891 @code{\alternative} belongs. This is the classic if-then-else
1892 dilemma. It may be solved by using braces.
1894 @item (an as yet unidentified ambiguity :-)
1899 @node Notation conversion specifics, , , Reference Manual
1900 @section Notation conversion specifics
1904 @cindex automatic beam generation
1906 @node autobeam, , , Reference Manual
1908 By default, LilyPond will generate beams automatically. This feature
1909 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1910 property to 1. It can be overridden for specific cases by
1911 specifying explicit beams as described in
1912 section XREF-manualbeam [FIXME].
1914 A large number of Voice properties are used to decide how to generate
1915 beams. Their default values appear in @file{auto-beam-settings.ly}.
1916 In general, beams can begin anywhere, but their ending location is
1917 significant. Beams can end on a beat, or at durations specified by
1918 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1919 quarter note, for example, you could set
1920 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1921 at every three eighth notes you would set it to `@code{"3/8"}'. The
1922 same syntax can be used to specify beam starting points using
1923 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1925 To allow different settings for different time signatures, these
1926 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1927 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1928 to specify beams ending only for 6/8 time you would use the
1929 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1930 for notes of different durations, the duration can be tacked onto the
1931 end of the property. To specify beam endings for beams that contain
1932 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1940 @cindex printing!chord names
1942 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1943 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1944 either using the notation described above, or directly using
1949 @mudela[fragment,verbatim]
1951 \context ChordNames {
1952 \chords{a b c} \notes{<d f g> <e g b>}
1954 \context Staff \notes {
1962 LilyPond examines chords specified as lists of notes to determine a
1963 name to give the chord. By default, LilyPond will not try to
1964 identify chord inversions:
1966 @mudela[fragment,verbatim,center]
1968 \context ChordNameVoice \notes {
1971 \context Thread \notes {
1977 If you want inversions to be recognized, you must set the property
1978 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1980 @mudela[fragment,verbatim,center]
1982 \property Score.chordInversion = 1
1983 \context ChordNameVoice \notes {
1986 \context Thread \notes {
1996 @cindex printing!lyrics
1998 @node lyricprint, , , Reference Manual
2000 Lyric syllables must be interpreted within a @code{Lyrics} context
2002 @cindex context!Lyrics
2005 Here is a full example:
2012 \notes \transpose c'' {
2014 e f g2 | e4 f g2 \bar "|.";
2016 \context Lyrics \lyrics {
2017 Va-4 der Ja- cob Va- der Ja- cob
2018 Slaapt gij nog?2 Slaapt4 gij nog?2
2026 You may want a continuous line after the syllables to show melismata.
2027 To achieve this effect, add a `@code{__}' lyric as a separate word
2028 after the lyric to be extended. This will create an extender, a line
2029 that extends over the entire duration of the lyric. This line will
2030 run all the way to the start of the next lyric, so you may want to
2031 shorten it by using a blank lyric (using `@code{_}').
2038 \notes \relative c'' {
2039 a4 () b () c () d | c () d () b () a | c () d () b () a
2041 \context Lyrics \lyrics {
2042 foo1 __ | bar2. __ _4 | baz1 __
2051 If you want to have hyphens centered between syllables (rather than
2052 attached to the end of the first syllable) you can use the special
2053 `@code{-}@code{-}' lyric as a separate word between syllables. This
2054 will result in a hyphen which length varies depending on the space
2055 between syllables, and which will be centered between the syllables.
2063 \notes \transpose c'' {
2065 e f g2 | e4 f g2 \bar "|.";
2067 \context Lyrics \lyrics {
2068 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2069 Slaapt gij nog?2 | Slaapt4 gij nog?2
2079 @node Notation Contexts, , , Reference Manual
2080 @section Notation Contexts
2082 @cindex notation contexts
2084 Notation contexts are objects that only exist during a run of
2085 LilyPond. During the interpretation phase of LilyPond, the Music
2086 expression contained in a @code{\score} block is interpreted in time
2087 order. This is the order in which humans read, play, and write
2090 A context is an object that holds the reading state of the
2091 expression; it contains information like
2094 @item What notes are playing at this point?
2095 @item What symbols will be printed at this point?
2096 @item In what style will they printed?
2097 @item What is the current key signature, time signature, point within
2101 Contexts are grouped hierarchically: A @code{Voice} context is
2102 contained in a @code{Staff} context (because a staff can contain
2103 multiple voices at any point), a @code{Staff} context is contained in
2104 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2105 these can all contain multiple staffs).
2107 Contexts associated with sheet music output are called @emph{notation
2108 contexts}, those for sound output are called playing contexts.
2110 Contexts are created either manually or automatically. Initially,
2111 the top level music expression is interpreted by the top level
2112 context (the @code{Score} context). When a atomic music expression
2113 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2114 set of contexts is created that can process these atomic expressions,
2120 \score @{ \notes < c4 > @}
2125 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2126 context. When the note `@code{c4}' itself is interpreted, a set of
2127 contexts is needed that will accept notes. The default for this is a
2128 @code{Voice} context, contained in a @code{Staff} context. Creation of
2129 these contexts results in the staff being printed.
2134 You can also create contexts manually, and you probably have to do so
2135 if you want to typeset complicated multiple part material. If a
2136 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2137 during the interpretation phase, the @var{musicexpr} argument will be
2138 interpreted with a context of type @var{name}. If you specify a name,
2139 the specific context with that name is searched.
2141 If a context of the specified type and name can not be found, a new
2142 one is created. For example,
2148 \notes \relative c'' {
2149 c4 <d4 \context Staff = "another" e4> f
2156 In this example, the @code{c} and @code{d} are printed on the
2157 default staff. For the @code{e}, a context Staff called
2158 `@code{another}' is specified; since that does not exist, a new
2159 context is created. Within @code{another}, a (default) Voice context
2160 is created for the @code{e4}. When all music referring to a
2161 context is finished, the context is ended as well. So after the
2162 third quarter, @code{another} is removed.
2164 Almost all music expressions inherit their interpretation context
2165 from their parent. In other words, suppose that the syntax for a
2170 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2173 When the interpretation of this music expression starts, the context
2174 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2177 Lastly, you may wonder, why this:
2183 \notes \relative c'' @{
2191 doesn't result in this:
2196 \notes \relative c'' {
2203 For the @code{c4}, a default @code{Staff} (with a contained
2204 @code{Voice}) context is created. After the @code{c4} ends, no
2205 music refers to this default staff, so it would be ended, with the
2206 result shown. To prevent this inconvenient behavior, the context to
2207 which the sequential music refers is adjusted during the
2208 interpretation. So after the @code{c4} ends, the context of the
2209 sequential music is also the default @code{Voice} context.
2210 The @code{d4} gets interpreted in the same context
2215 These are the contexts supplied with the package. They are defined
2216 in the initialization file @file{ly/engraver.ly}.
2219 @item @code{Grace}@indexcode{Grace}
2220 The context for handling grace notes. It is instantiated
2221 automatically when you use @code{\grace}. Basically, it is an
2222 `embedded' miniature of the Score context. Since this context
2223 needs special interaction with the rest of LilyPond, you should
2224 not explicitly instantiate it.
2226 @item @code{LyricVoice}@indexcode{LyricVoice}
2227 Corresponds to a voice with lyrics. Handles the printing of a
2228 single line of lyrics.
2230 @item @code{Thread}@indexcode{Thread}
2231 Handles note heads, and is contained in the Voice context. You
2232 have to instantiate this explicitly if you want to adjust the
2233 style of individual note heads.
2235 @item @code{Voice}@indexcode{Voice}
2236 Corresponds to a voice on a staff. This context handles the
2237 conversion of dynamic signs, stems, beams, super- and subscripts,
2238 slurs, ties, and rests.
2240 You have to instantiate this explicitly if you want to have
2241 multiple voices on the same staff.
2243 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2244 A voice with chord names. Handles printing of a line of chord
2247 @item @code{ChordNames}@indexcode{ChordNames}
2248 Typesets chord names. Can contain @code{ChordNamesVoice}
2251 @item @code{Lyrics}@indexcode{Lyrics}
2252 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2254 @item @code{Staff}@indexcode{Staff}
2255 Handles clefs, bar lines, keys, accidentals. It can contain
2256 @code{Voice} contexts.
2258 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2259 A context like @code{Staff} but for printing rhythms. Pitches are
2260 ignored; the notes are printed on one line. It can contain
2261 @code{Voice} contexts.
2263 @item @code{GrandStaff}@indexcode{GrandStaff}
2264 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2265 brace on the left side, grouping the staffs together. The bar
2266 lines of the contained staffs are connected vertically. It can
2267 contain @code{Staff} contexts.
2269 @item @code{PianoStaff}@indexcode{PianoStaff}
2270 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2271 equal to @code{maxVerticalAlign} so that interstaff beaming and
2272 slurring can be used.
2274 @item @code{StaffGroup}@indexcode{StaffGroup}
2275 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2276 bracket on the left side, grouping the staffs together. The bar
2277 lines of the contained staffs are connected vertically. It can
2278 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2279 @code{Lyrics} contexts.
2281 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2282 Identical to @code{StaffGroup} except that the contained staffs
2283 are not connected vertically.
2285 @item @code{Score}@indexcode{Score}
2286 This is the top level notation context. No other context can
2287 contain a @code{Score} context. This context handles the
2288 administration of time signatures. It also makes sure that items
2289 such as clefs, time signatures, and key-signatures are aligned
2290 across staffs. It can contain @code{Lyrics}, @code{Staff},
2291 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2292 @code{ChoirStaff} contexts.
2294 You cannot explicitly instantiate a Score context (since it is
2295 not contained in any other context). It is instantiated
2296 automatically when an output definition (a @code{\score} or
2297 @code{\paper} block) is processed.
2302 Properties that are set in one context are inherited by all of the
2303 contained contexts. This means that a property valid for the
2304 @code{Voice} context can be set in the @code{Score} context (for
2305 example) and thus take effect in all @code{Voice} contexts.
2307 Properties can be preset within the @code{\translator} block
2308 corresponding to the appropriate context. In this case, the syntax
2313 @var{propname} @code{=} @var{value}
2316 This assignment happens before interpretation starts, so a
2317 @code{\property} expression will override any predefined settings.
2319 The @code{\property} expression will create any property you specify.
2320 There is no guarantee that a property will be used. So if you spell
2321 a property name wrong, there will be no error message.
2323 The property settings are used during the interpretation phase. They
2324 are read by the LilyPond modules where interpretation contexts are
2325 built of. These modules are called @emph{translators}. Translators for
2326 notation are called @emph{engravers}, and translators for sound are
2327 called @emph{performers}.
2329 The precise result of a property is determined by the implementation
2330 of the translator that reads them. Therefore, the result of a
2331 property can vary, since it is implementation and configuration
2334 In order to fully find out what properties are used, you must
2335 currently search the source code for calls to @code{get_property}.
2336 The rest of the section is devoted to an (incomplete) overview of
2337 available properties.
2339 @mbinclude properties.itely
2341 @node Notation output definitions, , , Reference Manual
2342 @section Notation output definitions
2346 @cindex notation output
2348 @cindex output definition
2350 @node paper, , , Reference Manual
2352 The most important output definition is the @code{\paper} block, for
2353 music notation. The syntax is
2357 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2360 where each of the items is one of
2363 @item An assignment. The assignment must be terminated by a
2364 semicolon. See section XREF-papervars [FIXME] for information on
2367 @item A context definition. See section XREF-contextdefs [FIXME] for
2368 more information on context definitions.
2370 @item A margin shape declaration. The syntax is
2374 \shape @var{indent1}@code{,} @var{width1}@code{,}
2375 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2380 Each pair of @var{indent} and @var{width} values is a dimension
2381 specifying how far to indent and how wide to make the line.
2382 The indentation and width of successive lines are specified by
2383 the successive pairs of dimensions. The last pair of
2384 dimensions will define the characeristics of all lines beyond
2385 those explicitly specified.
2387 @item A font declaration. Its syntax is
2391 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2394 @var{fontsize} is an integer describing the font to be used.
2395 0 is the default font. @var{fontname} is the basename of
2396 a font (usually a member of the Feta family).
2401 @cindex changing font size and paper size
2403 The Feta font provides musical symbols at six different sizes. These
2404 fonts are 11 point, 13 point, 16 point, 20 point,
2405 23 point, and 26 point. The point size of a font is the
2406 height of the five lines in a staff when displayed in the font.
2408 Definitions for these sizes are the files @file{paperSZ.ly}, where
2409 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2410 any of these files, the identifiers @code{paper_eleven},
2411 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2412 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2413 respectively. The default @code{\paper} block is also set.
2415 To change the paper size, you must first set the
2416 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2417 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2418 you must set the font as described above. If you want the default
2419 font, then use the 20 point font. The new paper size will not
2420 take effect if the font is not loaded and selected afterwards. Paper
2421 size selection works by loading a file named after the paper size you
2426 @cindex paper variables
2428 @node Paper variables, , , Reference Manual
2430 There is a large number of paper variables that are used to control
2431 details of the layout. These variables control the defaults for the
2432 entire score. Usually, they do not have to be changed; they are by
2433 default set to values that depend on the font size in use. The
2434 values are used by the graphic objects while formatting the score;
2435 they are therefore implementation dependent. Most variables are
2436 accompanied by documentation in the initalization file
2437 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2440 Nevertheless, here are some variables you may want to use or change:
2443 @item @code{indent}@indexcode{indent}
2444 The indentation of the first line of music.
2446 @item @code{interline}@indexcode{interline}
2447 The distance between two staff lines, calculated from the center
2448 of the lines. You should use either this or @code{rulethickness}
2449 as a unit for distances you modify.
2451 @item @code{linewidth}@indexcode{linewidth}
2452 Sets the width of the lines. If set to -1.0, a single
2453 unjustified line is produced.
2455 @item @code{output}@indexcode{output}
2456 Specifies an alternate name for the the output @file{s}.
2457 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2458 added to the string you specify.
2460 @item @code{rulethickness}@indexcode{rulethickness}
2461 Determines the thickness of staff and bar lines.
2465 @node contextdefs, , , Reference Manual
2467 @cindex context definition
2469 A notation contexts is defined by the following information
2474 @item The LilyPond modules that do the actual conversion of music to
2475 notation. Each module is a so-called
2480 @item How these modules should cooperate, i.e. which ``cooperation
2481 module'' should be used. This cooperation module is a special
2484 @item What other contexts the context can contain,
2486 @item What properties are defined.
2489 A context definition has this syntax:
2493 \translator @code{@{}
2494 @var{translatorinit} @var{translatormodifierlist}
2498 @var{translatorinit} can be an identifier or of the form
2502 \type @var{typename} @code{;}
2505 @var{typename} is one of
2508 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2509 The standard cooperation engraver.
2511 @item @code{Score_engraver}@indexcode{Score_engraver}
2512 This is cooperation module that should be in the top level context.
2514 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2515 This is a special cooperation module (resembling
2516 @code{Score_engraver}) that is used to created an embedded
2520 @var{translatormodifierlist} is a list of items where each item is
2524 @item @code{\consists} @var{engravername} @code{;}
2525 Add @var{engravername} to the list of modules in this context.
2526 Section XREF-engravers [FIXME] contains an overview of the engravers
2527 available. The order of engravers added with @code{\consists} is
2530 @item @code{\consistsend} @var{engravername} @code{;}
2531 Analogous to @code{\consists}, but makes sure that
2532 @var{engravername} is always added to the end of the list of
2535 Some engraver types need to be at the end of the list; this
2536 insures they are put there, and stay there, if a user adds or
2537 removes engravers. This command is usually not needed for
2540 @item @code{\accepts} @var{contextname} @code{;}
2541 Add @var{contextname} to the list of context this context can
2542 contain. The first listed context the context to create by
2545 @item @code{\remove} @var{engravername} @code{;}
2546 Remove a previously added (with @code{\consists}) engraver.
2548 @item @code{\name} @var{contextname} @code{;}
2549 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2550 the name is not specified, the translator won't do anything.
2552 @item @var{propname} @code{=} @var{value} @code{;}
2553 A property assignment. It is allowed to use reals for
2557 In the @code{\paper} block, it is also possible to define translator
2558 identifiers. Like other block identifiers, the identifier can only
2559 be used as the very first item of a translator. In order to define
2560 such an identifier outside of @code{\score}, you must do
2566 foo = \translator @{ @dots{} @}
2573 \translator @{ \foo @dots{} @}
2581 @cindex paper types, engravers, and pre-defined translators
2583 Some pre-defined identifiers can simplify modification of
2584 translators. The pre-defined identifiers are:
2587 @item @code{StaffContext}@indexcode{StaffContext}
2588 Default Staff context.
2590 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2591 Default RhythmicStaff context.
2593 @item @code{VoiceContext}@indexcode{VoiceContext}
2594 Default Voice context.
2596 @item @code{ScoreContext}@indexcode{ScoreContext}
2597 Default Score context.
2599 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2600 Score context with numbering at the Score level.
2602 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2603 Staff context with numbering at the Staff level.
2605 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2606 Staff context that does not print if it only contains rests.
2607 Useful for orchestral scores.@footnote{Harakiri, also called
2608 Seppuku, is the ritual suicide of the Samourai.}
2610 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2612 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2615 Using these pre-defined values, you can remove or add items to the
2624 \remove Some_engraver;
2625 \consists Different_engraver;
2634 @node engravers, , , Reference Manual
2636 The engravers for paper output are:
2641 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2642 Engraves bar lines. Normally in @code{Staff} and
2643 @code{RhythmicStaff}.
2645 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2646 Engrave bar numbers. These numbers appear at the start of each
2647 line. Not normally in any translator. Can be added to
2648 @code{Score} for score-wide numbering or to @code{Staff} for
2649 numbering on each staff.
2651 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2652 Handles beam requests by engraving beams. Normally appears in
2653 the @code{Voice} translator. If omitted, then notes will be
2654 printed with flags instead of beams.
2656 @item @code{Beam_req_swallow_translator}
2657 @indexcode{Beam_req_swallow_translator}
2658 Swallows beam requests. In @code{LyricVoice}.
2660 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2661 Engraves chord names. Normally in @code{ChordNameVoice} .
2663 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2665 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2666 Engraves the clef symbol. Normally in @code{Staff}.
2668 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2670 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2671 Engraves dots on dotted notes shifted to the right of the note.
2672 Normally in @code{Voice}. If omitted, then dots appear on top of
2675 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2676 Engraves dynamics symbols. Normally in @code{Voice}.
2678 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2680 @item @code{Key_engraver}@indexcode{Key_engraver}
2681 Engraves the key signature. Normally in @code{Staff}.
2683 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2685 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2686 Engraves lyrics. Normally in @code{LyricVoice}.
2688 @item @code{Multi_measure_rest_engraver}
2689 @indexcode{Multi_measure_rest_engraver}
2690 Engraves multi-measure rests that are produced with @code{R}.
2691 Normally in @code{Voice}.
2693 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2695 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2696 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2697 Note that the notes move, but the locations of accidentals stay
2700 @item @code{Priority_horizontal_align_engraver}
2701 @indexcode{Priority_horizontal_align_engraver}
2703 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2704 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2706 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2707 Handles collisions of rests. In @code{Staff}.
2709 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2710 Engraves rests. Normally in @code{Voice}.
2712 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2714 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2716 @item @code{Script_engraver}@indexcode{Script_engraver}
2717 Handles note ornaments generated by @code{\script}. Normally in
2720 @item @code{Separating_line_group_engraver}
2721 @indexcode{Separating_line_group_engraver}
2723 @item @code{Skip_req_swallow_translator}
2724 @indexcode{Skip_req_swallow_translator}
2726 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2727 Engraves slurs. Normally in @code{Voice}.
2729 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2730 Engraves lines across multiple staffs. Normally in
2731 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2732 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2734 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2736 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2738 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2739 Prints the name of the instrument (specified by
2740 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2743 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2745 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2746 Engraves stems. Normally in @code{Voice}.
2748 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2749 Engraves ties. Normally in @code{Voice}.
2751 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2752 Engraves the time signature. Normally in @code{Staff} and
2753 @code{RhythmicStaff}.
2755 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2756 Responsible for synchronizing timing information from staffs.
2757 Normally in @code{Score}. In order to create polyrhythmic music,
2758 this engraver should be removed from @code{Score} and placed in
2761 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2762 Engraves tuplet brackets? In @code{Staff}.
2764 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2769 @node Sound output, , , Reference Manual
2770 @section Sound output
2774 The MIDI block is analogous to the paper block, but it is simpler.
2775 The @code{\midi} block can contain:
2779 @item a @code{\tempo} definition
2780 @item context definitions
2783 Assignments in the @code{\midi} block are not allowed.
2787 @cindex context definition
2789 Context definitions follow precisely the same syntax as within the
2790 \paper block. Translation modules for sound are called performers.
2791 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2795 @cindex MIDI instrument names
2797 @node midilist, , , Reference Manual
2799 The MIDI instrument name is set by the
2800 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2801 if that property is not set, the
2802 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2803 instrument name should be chosen from the following list. If the
2804 selected string does not exactly match, then LilyPond uses the default
2811 "acoustic grand" "contrabass" "lead 7 (fifths)"
2812 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2813 "electric grand" "pizzicato strings" "pad 1 (new age)"
2814 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2815 "electric piano 1" "timpani" "pad 3 (polysynth)"
2816 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2817 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2818 "clav" "synthstrings 1" "pad 6 (metallic)"
2819 "celesta" "synthstrings 2" "pad 7 (halo)"
2820 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2821 "music box" "voice oohs" "fx 1 (rain)"
2822 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2823 "marimba" "orchestra hit" "fx 3 (crystal)"
2824 "xylophone" "trumpet" "fx 4 (atmosphere)"
2825 "tubular bells" "trombone" "fx 5 (brightness)"
2826 "dulcimer" "tuba" "fx 6 (goblins)"
2827 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2828 "percussive organ" "french horn" "fx 8 (sci-fi)"
2829 "rock organ" "brass section" "sitar"
2830 "church organ" "synthbrass 1" "banjo"
2831 "reed organ" "synthbrass 2" "shamisen"
2832 "accordion" "soprano sax" "koto"
2833 "harmonica" "alto sax" "kalimba"
2834 "concertina" "tenor sax" "bagpipe"
2835 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2836 "acoustic guitar (steel)" "oboe" "shanai"
2837 "electric guitar (jazz)" "english horn" "tinkle bell"
2838 "electric guitar (clean)" "bassoon" "agogo"
2839 "electric guitar (muted)" "clarinet" "steel drums"
2840 "overdriven guitar" "piccolo" "woodblock"
2841 "distorted guitar" "flute" "taiko drum"
2842 "guitar harmonics" "recorder" "melodic tom"
2843 "acoustic bass" "pan flute" "synth drum"
2844 "electric bass (finger)" "blown bottle" "reverse cymbal"
2845 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2846 "fretless bass" "whistle" "breath noise"
2847 "slap bass 1" "ocarina" "seashore"
2848 "slap bass 2" "lead 1 (square)" "bird tweet"
2849 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2850 "synth bass 2" "lead 3 (calliope)" "helicopter"
2851 "violin" "lead 4 (chiff)" "applause"
2852 "viola" "lead 5 (charang)" "gunshot"
2853 "cello" "lead 6 (voice)"
2859 @cindex MIDI types and performers
2861 The types available for MIDI translators are:
2864 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2865 @item @code{Score_performer}@indexcode{Score_performer}
2866 @item @code{Staff_performer}@indexcode{Staff_performer}
2869 The performers for MIDI translators are:
2872 @item @code{Key_performer}@indexcode{Key_performer}
2873 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2874 @item @code{Note_performer}@indexcode{Note_performer}
2875 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2876 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2881 @node Pre-defined Identifiers, , , Reference Manual
2883 @section Pre-defined Identifiers
2885 @cindex pre-defined identifiers
2888 Various identifiers are defined in the initialization files to
2889 provide shorthands for some settings. Most of them are in
2890 @file{ly/declarations.ly}.
2893 @item @code{\break}@keyindex{break}
2894 Force a line break in music by using a large argument for the
2895 keyword @code{\penalty}.
2897 @item @code{\center}@keyindex{center}
2898 Used for setting direction properties. Equals 0.
2900 @item @code{\down}@keyindex{down}
2901 Used for setting direction setting properties. Is equal
2904 @item @code{\free}@keyindex{free}
2905 Used for setting direction setting properties. Is equal
2908 @item @code{\left}@keyindex{left}
2909 Used for setting text alignment property. Is equal to -1.
2911 @item @code{\nobreak}@keyindex{nobreak}
2912 Prevent a line break in music by using a large negative argument
2913 for the keyword @code{\penalty}.
2915 @item @code{\none}@keyindex{none}
2916 Used for setting @code{Score.beamslopedamping} and
2917 @code{Score.beamquantisation} properties. Is equal to 0.
2919 @item @code{\normal}@keyindex{normal}
2920 Used for setting @code{Score.beamslopedamping} and
2921 @code{Score.beamquantisation} properties. Is equal to 1.
2923 @item @code{\normalkey}@keyindex{normalkey}
2924 Select normal key signatures where each octave has the same key
2925 signature. This sets the @code{Staff.keyoctaviation} property.
2927 @item @code{\right}@keyindex{right}
2928 Used for setting text alignment property. Is set to 1.
2930 @item @code{\shiftoff}@keyindex{shiftoff}
2931 Disable horizontal shifting of note heads that collide. Sets the
2932 @code{Voice.horizontalNoteShift} property.
2934 @item @code{\shifton}@keyindex{shifton}
2935 Enable note heads that collide with other note heads to be
2936 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2939 @item @code{\slurboth}@keyindex{slurboth}
2940 Allow slurs to be above or below notes. This sets the
2941 @code{Voice.slurVerticalDirection} property.
2943 @item @code{\slurdown}@keyindex{slurdown}
2944 Force slurs to be below notes. This sets the
2945 @code{Voice.slurVerticalDirection} property.
2947 @item @code{\slurup}@keyindex{slurup}
2948 Force slurs to be above notes. This sets the
2949 @code{Voice.slurVerticalDirection} property.
2951 @item @code{\specialkey}@keyindex{specialkey}
2952 Allow key signatures do differ in different octaves. This sets
2953 the @code{Staff.keyoctaviation} property.
2955 @item @code{\stemboth}@keyindex{stemboth}
2956 Allow stems, beams, and slurs to point either upwards or
2957 downwards, decided automatically by LilyPond. This sets the
2958 @code{Voice.verticalDirection} property.
2960 @item @code{\stemdown}@keyindex{stemdown}
2961 Force stems, beams, and slurs to point down. This sets the
2962 @code{Voice.verticalDirection} property.
2964 @item @code{\stemup}@keyindex{stemup}
2965 Force stems, beams and slurs to point up. This sets the
2966 @code{Voice.verticalDirection} property.
2968 @item @code{\traditional}@keyindex{traditional}
2969 Used for setting the @code{Score.beamquantisation} property. Is
2972 @item @code{\up}@keyindex{up}
2973 Used for setting various direction properties. Is equal