3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @macro internalsref{NAME}
17 @uref{../lilypond-internals/\NAME\.html,\NAME\}
20 @macro seeinternals{NAME}
21 See @internalsref{\NAME\}
27 @macro seeinternals{NAME}
29 @macro internalsref{NAME}
35 @c .{Reference Manual}
37 @node Reference Manual
38 @chapter Reference Manual
41 <!--- @@WEB-TITLE@@=Reference Manual --->
44 This document describes GNU LilyPond and its input format. The last
45 revision of this document was made for LilyPond 1.4.1. It supposes a
46 passing familiarity with how LilyPond input works. New users are
47 encouraged to study the tutorial first.
71 * Skipping corrected music::
72 * Interpretation context::
77 @c FIXME: Note entry vs Music entry at top level menu is confusing.
83 The most basic forms of music are notes. Notes on their own don't
84 form valid input, but for the sake of brevity we omit @code{\score}
85 blocks and @code{\paper} declarations.
91 * Chromatic alterations::
96 * Automatic note splitting ::
98 * Defining pitch names::
99 * Easy Notation note heads ::
107 A note is printed by specifying its pitch, and then its duration.
108 @lilypond[fragment,verbatim]
111 The grob for a note head is called @internalsref{NoteHead}.
118 @cindex Note specification
120 @cindex entering notes
122 The verbose syntax for pitch specification is
124 @cindex @code{\pitch}
126 \pitch @var{scmpitch}
129 @var{scmpitch} is a pitch scheme object.
131 In Note and Chord mode, pitches may be designated by names. The default
132 names are the Dutch note names. The notes are specified by the letters
133 @code{a} through @code{g} (where the octave is formed by notes ranging
134 from @code{c} to @code{b}). The pitch @code{c} is an octave below
135 middle C and the letters span the octave above that C.
137 @cindex note names, Dutch
139 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
140 name and a flat is formed by adding @code{-es}. Double sharps and double
141 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
142 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
143 both forms are accepted.
145 LilyPond has predefined sets of note names for various other languages.
146 To use them, simply include the language specific init file. For
147 example: @code{\include "english.ly"}. The available language files and
148 the names they define are:
151 Note Names sharp flat
152 nederlands.ly c d e f g a bes b -is -es
153 english.ly c d e f g a bf b -s/-sharp -f/-flat
154 deutsch.ly c d e f g a b h -is -es
155 norsk.ly c d e f g a b h -iss/-is -ess/-es
156 svenska.ly c d e f g a b h -iss -ess
157 italiano.ly do re mi fa sol la sib si -d -b
158 catalan.ly do re mi fa sol la sib si -d/-s -b
166 The optional octave specification takes the form of a series of
167 single quote (`@code{'}') characters or a series of comma
168 (`@code{,}') characters. Each @code{'} raises the pitch by one
169 octave; each @code{,} lowers the pitch by an octave.
171 @lilypond[fragment,verbatim,center]
172 c' c'' es' g' as' gisis' ais'
175 @node Chromatic alterations
176 @subsection Chromatic alterations
178 Normally Accidentals signify that the pitch of a note differs from the
179 key signature. Normally, they are printed automatically depending, but
180 you may force accidentals in the following ways:
181 A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!} after the pitch. A
185 cautionary accidental,
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 i.e., an accidental within parentheses can be obtained by adding the
189 question mark `@code{?}' after the pitch.
191 Each accidental symbol is an @internalsref{Accidental} grob. The
192 placement of accidentals is handled by
193 @internalsref{AccidentalPlacement}.
201 A rest is entered like a note, with note name `@code{r}':
203 @lilypond[singleline,verbatim]
207 The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
208 specified using @code{R}, see @ref{Multi measure rests}.
210 For polyphonic music, it can be convenient to specify the rest position
211 directly. You can do that by entering a note, with the keyword
212 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
214 @lilypond[singleline,verbatim]
224 @cindex Invisible rest
227 An invisible rest, or skip, can be entered like a note with note name
228 @code{s}, or with @code{\skip @var{duration}}:
230 @lilypond[singleline,verbatim]
234 The @code{s} syntax is only available in Note mode and Chord mode.
235 In other situations, you should use the @code{\skip} command, and it is
236 only available in Note mode and Chord mode.
238 @c FIXME: in lyrics mode, we have " " and _
240 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
241 @lilypond[singleline,verbatim]
243 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
244 \notes\relative c'' { a2 a4 a a2 a4 a }
248 The unabbreviated `@code{\skip} @var{duration}' also works outside of
251 @lilypond[singleline,verbatim]
254 { \time 4/8 \skip 2 \time 4/4 }
255 \notes\relative c'' { a2 a1 }
260 The skip command is merely a empty musical placeholder. It does not
261 produce any output, not even transparent output.
266 @subsection Durations
270 @cindex @code{\duration}
272 The syntax for a verbose duration specification is
274 \duration @var{scmduration}
276 Here, @var{scmduration} is a Scheme object of type @code{Duration}.
279 In Note, Chord, and Lyrics mode, durations may be designated by numbers
280 and dots: durations are entered as their reciprocal values. For notes
281 longer than a whole you must use identifiers.
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
293 \notes \relative c'' {
295 a1 a2 a4 a8 a16 a32 a64 a64
297 r1 r2 r4 r8 r16 r32 r64 r64
302 \remove "Clef_engraver"
303 \remove "Staff_symbol_engraver"
304 \remove "Time_signature_engraver"
305 \consists "Pitch_squash_engraver"
312 If the duration is omitted then it is set to the previous duration
313 entered. At the start of parsing a quarter note is assumed. The
314 duration can be followed by dots (`@code{.}') to obtain dotted note
318 @lilypond[fragment,verbatim,center]
324 You can alter the length of duration by a fraction @var{N/M} by
325 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
326 will not affect the appearance of the notes or rests produced.
338 A tie connects two adjacent note heads of the same pitch. The tie in
339 effect extends the length of a note. A tie is entered with @code{~}.
341 @lilypond[fragment,verbatim,center]
342 e' ~ e' <c' e' g'> ~ <c' e' g'>
345 When ties are used with chords, all note heads whose pitches match are
346 connected. Ties are indicated using the tilde symbol `@code{~}'. If
347 you try to tie together chords which have no common pitches then no
348 ties will be created.
350 If you want less ties created for a chord, you can set
351 @code{Voice.sparseTies} to true. In this case, a single tie is used
352 for every tied chord.
353 @lilypond[fragment,verbatim,center]
354 \property Voice.sparseTies = ##t
355 <c' e' g'> ~ <c' e' g'>
358 In its meaning a tie is just a way of extending a note duration, similar
359 to the augmentation dot: the following example are two ways of notating
360 exactly the same concept.
362 @lilypond[fragment, singleline]
363 \time 3/4 c'2. c'2 ~ c'4
365 Ties should not be confused with slurs, which indicate articulation,
366 and phrasing slurs, which indicate musical phrasing.
368 The name of the tie grob is @internalsref{Tie}, and it is created in the
369 @internalsref{Voice} context.
373 At present, the tie is implemented as a separate thing, temporally
374 located in between the notes.
375 Tieing only a subset of the note heads of a chord is not supported in a
376 simple way. It can be achieved by moving the tie-engraver into the Thread
377 context and turning on and off ties per Thread.
379 @node Automatic note splitting
380 @subsection Automatic note splitting
382 There is a facility for automatically converting long notes to tied
383 notes. This is done by replacing the @code{Note_heads_engraver} by the
384 @code{Completion_heads_engraver}.
386 @lilypond[verbatim,center]
388 \notes\relative c'{ \time 2/4
389 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
393 \remove "Note_heads_engraver"
394 \consists "Completion_heads_engraver"
398 This engraver splits all running notes at the bar line, and inserts
399 ties. One of the uses of this is, is to debug complex scores: if the
400 measures are not entirely filled, then the ties exactly show how much
405 Not all durations (especially those containing tuplets) can be
406 represented exactly; the engraver will not insert tuplets.
413 @cindex @code{\times}
415 Tuplets are made out of a music expression by multiplying all duration
418 @cindex @code{\times}
420 \times @var{fraction} @var{musicexpr}
423 The duration of @var{musicexpr} will be multiplied by the fraction.
424 In print, the fraction's denominator will be printed over the notes,
425 optionally with a bracket. The most common tuplet is the triplet in
426 which 3 notes have the length of 2, so the notes are 2/3 of
427 their written length:
429 @lilypond[fragment,verbatim,center]
430 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
433 The property @code{tupletSpannerDuration} specifies how long each bracket
434 should last. With this, you can make lots of tuplets while typing
435 @code{\times} only once, thus saving typing work.
437 @lilypond[fragment, relative, singleline, verbatim]
438 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
439 \times 2/3 { c'8 c c c c c }
442 The format of the number is determined by the property
443 @code{tupletNumberFormatFunction}. The default prints only the
444 denominator, but if you set it to the Scheme function
445 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
450 The typesetting of brackets and numbers is controlled by the properties
451 @code{bracket-visibility} and @code{number-visibility}. These
452 properties can either be @code{#f}, @code{#t} or @code{'if-no-beam},
453 meaning respectively off, on, and on if there is no beam.
455 @lilypond[fragment, relative, singleline, verbatim]
456 \property Voice.TupletBracket \set #'bracket-visibility = ##t
457 \times 2/3{c'8 d e} \times 2/3{d4 e8}
458 \property Voice.TupletBracket \set #'bracket-visibility = #'if-no-beam
459 \times 2/3{c d e} \times 2/3{d4 e8}
460 \property Voice.TupletBracket \set #'bracket-visibility = ##f
461 \times 2/3{c d e} \times 2/3{d4 e8}
462 \property Voice.TupletBracket \set #'number-visibility = ##f
463 \times 2/3{c d e} \times 2/3{d4 e8}
464 \property Voice.TupletBracket \set #'number-visibility = #'if-no-beam
465 \times 2/3{c d e} \times 2/3{d4 e8}
468 @cindex @code{tupletNumberFormatFunction}
469 @cindex tuplet formatting
471 Tuplet brackets are printed as @internalsref{TupletBracket} grobs in
472 the @internalsref{Voice} context.
474 @c . {Defining pitch names}
475 @node Defining pitch names
476 @subsection Defining pitch names
478 @cindex defining pitch names
479 @cindex pitch names, defining
481 Note names and chord modifiers can be customized for nationalities. The
482 syntax is as follows.
484 @cindex @code{\pitchnames}
485 @cindex @code{\chordmodifiers}
487 \pitchnames @var{scheme-alist}
488 \chordmodifiers @var{scheme-alist}
491 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers-init.ly} for
492 specific examples on how to do this.
495 @node Easy Notation note heads
496 @subsection Easy Notation note heads
498 @cindex easy notation
501 A entirely different type of note head is the "easyplay" note head: a
502 note head that includes a note name. It is used in some publications by
503 Hal-Leonard Inc. music publishers.
505 @lilypond[singleline,verbatim]
506 \include "paper23.ly"
508 \notes { c'2 e'4 f' | g'1 }
509 \paper { \translator { \EasyNotation } }
513 Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
514 probably will want to print it with magnification to make it more
515 readable, see @ref{Output scaling}.
521 If you view the result with Xdvi, then staff lines will show through the
522 letters. Printing the postscript file obtained either by using dvips or
523 the @code{-f ps} option of lilypond produces the correct result.
528 @section Staff notation
530 @cindex Staff notation
542 @subsection Key signature
547 Setting or changing the key signature is done with the @code{\key}
550 @code{\key} @var{pitch} @var{type}
553 @cindex @code{\minor}
554 @cindex @code{\major}
555 @cindex @code{\minor}
556 @cindex @code{\ionian}
557 @cindex @code{\locrian}
558 @cindex @code{\aeolian}
559 @cindex @code{\mixolydian}
560 @cindex @code{\lydian}
561 @cindex @code{\phrygian}
562 @cindex @code{\dorian}
564 Here, @var{type} should be @code{\major} or @code{\minor} to get
565 @var{pitch}-major or @var{pitch}-minor, respectively.
566 The standard mode names @code{\ionian},
567 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
568 @code{\phrygian}, and @code{\dorian} are also defined.
570 This command sets the context property @code{Staff.keySignature}.
571 Non-standard key signatures can be specified by setting this property
574 The printed signature is a @internalsref{KeySignature} grob, typically
575 created in @internalsref{Staff} context.
577 @cindex @code{keySignature}
584 The clef can be set or changed with the @code{\clef} command:
585 @lilypond[fragment,verbatim]
586 \key f\major c''2 \clef alto g'2
589 Supported clef-names include
590 @c Moved standard clefs to the top /MB
592 @item treble, violin, G, G2
601 G clef on 1st line, so-called French violin clef
616 By adding @code{_8} or @code{^8} to the clef name, the clef is
617 transposed one octave down or up, respectively. Note that you have to
618 enclose @var{clefname} in quotes if you use underscores or digits in the
624 The grob for this symbol is @internalsref{Clef}.
627 The full syntax for this command is
631 where @var{clefname} is a string. This command is a shortcut for
633 \property Staff.clefGlyph = @var{glyph associated with clefname}
634 \property Staff.clefPosition = @var{clef Y-position for clefname}
635 \property Staff.centralCPosition = @var{position for central C}
636 \property Staff.clefOctavation = @var{extra transposition of clefname}
638 Upon any change in these properties lilypond creates a clef
639 symbol. The mapping from @var{clefname} to the property values can be
640 found in @file{scm/clef.scm}
646 @c . {Time signature}
648 @subsection Time signature
649 @cindex Time signature
653 The time signature is set or changed by the @code{\time}
655 @lilypond[fragment,verbatim]
656 \time 2/4 c'2 \time 3/4 c'2.
659 The actual symbol that's printed can be customized with the style
661 @lilypond[fragment, verbatim, singleline]
663 \property Staff.TimeSignature \override #'style = #'C
665 \property Staff.TimeSignature \override #'style = #'()
667 \property Staff.TimeSignature \override #'style = #'C
671 The grob for this symbol is @internalsref{TimeSignature}. There are
672 many more options for its layout. They are selected through the
673 @code{style} grob property. See @file{input/test/time.ly} for more
677 The full syntax for this command is
679 \time @var{n}@code{/}@var{d}
681 where @var{n} and @var{d} are integers. This command is internally
682 translated, to the following:
684 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
685 \property Score.beatLength = #(make-moment 1 @var{d})
686 \property Score.measureLength = #(make-moment @var{n} @var{d})
689 The property @code{timeSignatureFraction} determine where bar lines
690 should be inserted, and how automatic beams should be generated.
691 Changing the value of @code{timeSignatureFraction} also causes a
692 fraction to be printed.
699 @cindex partial measure
700 @cindex measure, partial
701 @cindex shorten measures
702 @cindex @code{\partial}
704 Partial measures, for example in upbeats, are entered using the
705 @code{\partial} command:
706 @lilypond[fragment,verbatim]
707 \partial 4* 5/16 c'16 c8. f16 a'2. ~ a'8. a'16 | g'1
710 The syntax for this command is
712 \partial @var{duration}
714 This is internally translated into
716 \property Score.measurePosition = -@var{length of duration}
719 The property @code{measurePosition} contains a rational number
720 indicating how much of the measure has passed at this point.
723 @node Unmetered music
724 @subsection Unmetered music
726 Bar lines and bar numbers are calculated automatically. For unmetered
727 music (e.g. cadenzas), this is not desirable. The property
728 @code{Score.timing} can be used to switch off this automatic timing
730 @lilypond[fragment,relative,singleline,verbatim]
732 \property Score.timing = ##f
734 \property Score.timing = ##t
738 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
745 @subsection Bar lines
749 @cindex measure lines
752 Bar lines are inserted automatically by, but if you need a special
753 types of barline, you can force one using the @code{\bar} command:
754 @lilypond[fragment,verbatim]
758 The following bar types are available
759 @lilypond[fragment, relative, singleline, verbatim]
771 You are encouraged to use @code{\repeat} for repetitions. See
774 In scores with many staffs, the barlines are automatically placed at
775 top level, and they are connected between different staffs of a
776 @internalsref{StaffGroup}:
777 @lilypond[fragment, verbatim]
778 < \context StaffGroup <
779 \context Staff = up { e'4 d'
782 \context Staff = down { \clef bass c4 g e g } >
783 \context Staff = pedal { \clef bass c2 c2 } >
786 The grobs that are created at @internalsref{Staff} level. The name is
787 @internalsref{BarLine}.
789 The full syntax for this command is
793 where @var{bartype} is a string. This is a shortcut for doing
795 \property Score.whichBar = @var{bartype}
799 @cindex Bar_line_engraver
801 @cindex repeatCommands
802 @cindex defaultBarType
804 Whenever @code{whichBar} is set to a string, a bar line of that type is
805 created. @code{whichBar} is usually set automatically: at the start of
806 a measure it is set to @code{defaultBarType}. The contents of
807 @code{repeatCommands} is used to override default measure bars.
809 @code{whichBar} can also be set directly, using @code{\property} or
810 @code{\bar }. These settings take precedence over the automatic
811 @code{whichBar} settings.
818 Polyphonic parts, i.e. parts with more than one voice on a staff can be
819 typeset with LilyPond.
821 The easiest way to enter such fragments, is the Scheme function
822 @code{voicify-music}. It will split chords using the separator
823 @code{\\}, to make multiple voices. You can use it for small,
824 short-lived voices (make a chord of voices) or for single chords:
826 @lilypond[verbatim,fragment]
827 \context Voice = VA \apply #voicify-music \relative c'' {
828 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
832 The function @code{voicify-music} instantiates @internalsref{Voice}
833 contexts, bearing the names @code{"1"}, @code{"2"}, etc.
835 To explicity typeset polyphonic music, instantiate a separate Voice
836 context for each part, and use @code{\voiceOne}, up to
837 @code{\voiceFour} to assign a stem directions and horizontal shift for
841 @lilypond[singleline, verbatim]
843 \context Staff < \context Voice = VA { \voiceOne cis2 b }
844 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
845 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
848 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
849 ties, slurs and stems, and set shift directions.
851 If you want more than four voices, you can also manually set
852 horizontal shifts and stem directions, as is shown in the following example:
853 @lilypond[fragment, verbatim]
854 \context Staff \notes\relative c''<
861 \context Voice=three {
862 \shiftOnn \stemUp ais
864 \context Voice=four {
865 \shiftOnnn \stemUp fis
871 Normally, note heads with a different number of dots are not merged, but
872 if you set the grob property @code{merge-differently-dotted}, they are:
873 @lilypond[verbatim,fragment,singleline]
874 \apply #voicify-music < {
876 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
878 } \\ { [g'8. f16] [g'8. f'16] }
882 Similarly, you can merge half note heads with eighth notes, by setting
883 @code{merge-differently-headed}:
884 @lilypond[fragment, relative=2,verbatim]
885 \apply #voicify-music < {
887 \property Staff.NoteCollision
888 \override #'merge-differently-headed = ##t
889 c8 c4. } \\ { c2 c2 } >
892 LilyPond also vertically shifts rests that are opposite of a stem.
894 @lilypond[singleline,fragment,verbatim]
895 \apply #voicify-music <
900 Note head collisions (horizontal shifting of note heads) are handled by
901 the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
902 handles vertical shifting of rests.
908 Resolving collisions is a very intricate subject, and LilyPond only
909 handles a few situations. When it can not cope, you are advised to use
910 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
911 rests to override typesetting decisions.
916 Beams are used to group short notes into chunks that are aligned with
917 the metrum. They are inserted automatically in most cases.
919 @lilypond[fragment,verbatim, relative=2]
920 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
923 If you're not satisfied with the automatic beaming, you can enter the
924 beams explicitly. If you have beaming patterns that differ from the
925 defaults, you can also set the patterns for automatic beamer.
927 The beam symbol is @internalsref{Beam} in @internalsref{Voice}
928 context, both for automatically created and manual beams.
931 @cindex Automatic beams
932 @subsection Manual beams
933 @cindex beams, manual
937 In some cases it may be necessary to override LilyPond's automatic
938 beaming algorithm. For example, the auto beamer will not beam over
939 rests or bar lines, If you want that, specify the begin and end point
940 manually using a @code{[} before the first beamed note and a @code{]}
943 @lilypond[fragment,relative,verbatim]
945 r4 [r8 g' a r8] r8 [g | a] r8
949 @cindex @code{stemLeftBeamCount}
951 Normally, beaming patterns within a beam are determined automatically.
952 When this mechanism fouls up, the properties
953 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
954 be used to control the beam subdivision on a stem. If you set either
955 property, it's value will be used only once, and then it is erased.
957 @lilypond[fragment,relative,verbatim]
960 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
963 @cindex @code{stemRightBeamCount}
966 TODO: FIXME, we don't want this doc here.
968 can be tweaked through
969 grob-property @code{positions}. The value is a pair.
970 specify vertical location of the left and right end point. Both are
971 measured in half staff-spaces, and the middle staff line is the value
974 @li lypond[fragment,relative,verbatim]
975 \property Voice.Beam \set #'position = #
976 \property Voice.Beam \set #'height = #0
980 Here's how you'd specify a weird looking beam that instead of being
981 horizontal, falls two staff spaces:
987 @li lypond[fragment,relative,verbatim]
988 \property Voice.Beam \set #'staff-position = #4
989 \property Voice.Beam \set #'height = #-4
996 Kneed beams are inserted automatically, when a large gap between two
997 adjacent beamed notes is detected. This behavior can be tuned through
998 the grob property @code{auto-knee-gap}.
1000 @cindex beams, kneed
1002 @cindex auto-knee-gap
1006 @c TODO -> why this ref? Document?
1007 @cindex @code{neutral-direction}
1011 Auto knee beams can not be used together with hara kiri staffs.
1015 * Setting automatic beam behavior ::
1018 @node Beam typography
1019 @subsection Beam typography
1021 One of the strong points of LilyPond is how beams are formatted. Beams
1022 are quantized, meaning that the left and right endpoints beams start
1023 exactly on staff lines. Without quantization, small wedges of white
1024 space appear between the beam and staff line, and this looks untidy.
1026 Beams are also slope-damped: melodies that go up or down should also
1027 have beams that go up or down, but the slope of the beams should be
1028 less than the slope of the notes themselves.
1030 Some beams should be horizontal. These are so-called concave beams.
1032 [TODO: some pictures.]
1035 @c . {Automatic beams}
1036 @node Setting automatic beam behavior
1037 @subsection Setting automatic beam behavior
1039 @cindex @code{autoBeamSettings}
1040 @cindex @code{(end * * * *)}
1041 @cindex @code{(begin * * * *)}
1042 @cindex automatic beams, tuning
1043 @cindex tuning automatic beaming
1045 In normal time signatures, automatic beams can start on any note but can
1046 only end in a few positions within the measure: beams can end on a beat,
1047 or at durations specified by the properties in
1048 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1049 are defined in @file{scm/auto-beam.scm}.
1051 The value of @code{autoBeamSettings} is changed using
1052 @code{\override} and unset using @code{\revert}:
1054 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1055 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1057 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1058 whether the rule applies to begin or end-points. The quantity
1059 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1060 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1061 signature (wildcards, `@code{* *}' may be entered to designate all time
1064 For example, if you want automatic beams to end on every quarter note,
1065 you can use the following:
1067 \property Voice.autoBeamSettings \override
1068 #'(end * * * *) = #(make-moment 1 4)
1070 Since the duration of a quarter note is 1/4 of a whole note, it is
1071 entered as @code{(make-moment 1 4)}.
1073 The same syntax can be used to specify beam starting points. In this
1074 example, automatic beams can only end on a dotted quarter note.
1076 \property Voice.autoBeamSettings \override
1077 #'(end * * * *) = #(make-moment 3 8)
1079 In 4/4 time signature, this means that automatic beams could end only on
1080 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1081 3/8 has passed within the measure).
1083 You can also restrict rules to specific time signatures. A rule that
1084 should only be applied in @var{N}/@var{M} time signature is formed by
1085 replacing the second asterisks by @var{N} and @var{M}. For example, a
1086 rule for 6/8 time exclusively looks like
1088 \property Voice.autoBeamSettings \override
1089 #'(begin * * 6 8) = ...
1092 If you want a rule to apply to certain types of beams, you can use the
1093 first pair of asterisks. Beams are classified according to the shortest
1094 note they contain. For a beam ending rule that only applies to beams
1095 with 32nd notes (and no shorter notes), you would use @code{(end 1
1099 @c Automatic beams can not be put on the last note in a score.
1101 If a score ends while an automatic beam has not been ended and is still
1102 accepting notes, this last beam will not be typeset at all.
1104 @cindex automatic beam generation
1106 @cindex @code{Voice.autoBeaming}
1109 For melodies that have lyrics, you may want to switch off
1110 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1116 It is not possible to specify beaming parameters for beams with mixed
1117 durations, that differ from the beaming parameters of all separate
1118 durations, i.e., you'll have to specify manual beams to get:
1119 @lilypond[fragment,singleline,relative]
1120 \property Voice.autoBeamSettings
1121 \override #'(end * * * *) = #(make-moment 3 8)
1122 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1125 It is not possible to specify beaming parameters that act differently in
1126 different parts of a measure. This means that it is not possible to use
1127 automatic beaming in irregular meters such as @code{5/8}.
1130 @node Expressive marks
1131 @section Expressive marks
1146 A slur indicates that notes are to be played bound or @emph{legato}.
1147 They are entered using parentheses:
1149 @lilypond[fragment,verbatim,center]
1150 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1154 Slurs avoid crossing stems, and are generally attached to note heads.
1155 However, in some situations with beams, slurs may be attached to stem
1156 ends. If you want to override this layout you can do this through the
1157 grob-property @code{attachment} of @internalsref{Slur} in
1158 @internalsref{Voice} context It's value is a pair of symbols, specifying
1159 the attachment type of the left and right end points.
1161 @lilypond[fragment,relative,verbatim]
1163 \property Voice.Stem \set #'length = #5.5
1165 \property Voice.Slur \set #'attachment = #'(stem . stem)
1169 If a slur would strike through a stem or beam, the slur will be moved
1170 away upward or downward. If this happens, attaching the slur to the
1171 stems might look better:
1173 @lilypond[fragment,relative,verbatim]
1176 \property Voice.Slur \set #'attachment = #'(stem . stem)
1181 Similarly, the curvature of a slur is adjusted to stay clear of note
1182 heads and stems. When that would increase the curvature too much, the
1183 slur is reverted to its default shape. The threshold for this decision
1184 is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
1185 related to the enclosed area between the slur and the notes. Usually,
1186 the default setting works well, but in some cases you may prefer a
1187 curved slur when LilyPond decides for a vertically moved one. You can
1188 indicate this preference by increasing the @code{beautiful} value:
1190 @lilypond[verbatim,singleline,relative]
1192 c16( a' f' a a f a, )c,
1193 c( a' f' a a f d, )c
1194 \property Voice.Slur \override #'beautiful = #5.0
1195 c( a' f' a a f d, )c
1200 Producing nice slurs is a difficult problem, and LilyPond currently
1201 uses a simple, empiric method to produce slurs. In some cases, the
1202 results of this method don't look too good. This is reflected by the
1203 @code{beautiful} parameter. It is an arbitrary parameter in the slur
1204 formatter. Useful values can only be determined by trial and error.
1206 @cindex Adjusting slurs
1208 @node Phrasing slurs
1209 @subsection Phrasing slurs
1211 @cindex phrasing slurs
1212 @cindex phrasing marks
1214 A phrasing slur (or phrasing mark) connects chords and is used to
1215 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1218 @lilypond[fragment,verbatim,center,relative]
1219 \time 6/4 c' \( ( d ) e f ( e ) \) d
1222 Typographically, the phrasing slur behaves almost exactly like a normal
1223 slur. The grob associated with it is @internalsref{PhrasingSlur}, in
1224 @internalsref{Voice} context.
1227 @subsection Breath marks
1229 Breath marks are entered using @code{\breathe}. The result is a
1230 @internalsref{BreathingSign} grob in @internalsref{Voice} context.
1232 @lilypond[fragment,relative]
1241 @cindex beats per minute
1242 @cindex metronome marking
1244 Metronome settings can be entered as follows:
1246 @cindex @code{\tempo}
1248 \tempo @var{duration} = @var{perminute}
1251 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1256 The tempo setting is not printed, but is only used in the MIDI
1257 output. You can trick lily into producing a metronome mark,
1258 though. Details are in @ref{Text markup}.
1263 @subsection Text spanners
1264 @cindex Text spanners
1266 Some textual indications, e.g. rallentando or accelerando, often extend
1267 over many measures. This is indicated by following the text with a
1268 dotted line. You can create such texts using text spanners. The syntax
1271 \spanrequest \start "text"
1272 \spanrequest \stop "text"
1274 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1275 in @internalsref{Voice} context). The string to be printed, as well as the
1276 style is set through grob properties.
1278 An application---or rather, a hack---is to fake octavation indications.
1279 @lilypond[fragment,relative,verbatim]
1280 \relative c' { a''' b c a
1281 \property Voice.TextSpanner \set #'type = #'dotted-line
1282 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1283 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1284 \property Staff.centralCPosition = #-13
1285 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1304 @subsection Articulations
1305 @cindex Articulations
1307 @cindex articulations
1311 A variety of symbols can appear above and below notes to indicate
1312 different characteristics of the performance. They are added to a note
1313 by adding @code{-}@var{script}
1314 @lilypond[singleline]
1316 \notes \context Voice {
1317 \property Voice.TextScript \set #'font-family = #'typewriter
1318 \property Voice.TextScript \set #'font-shape = #'upright
1324 c''4-^_"c-\\^{ }" s4
1329 The script is automatically placed, but if you need to force
1330 directions, you can use @code{_} to force them down, or @code{^} to
1332 @lilypond[fragment, verbatim]
1337 Other symbols can be added using the syntax
1338 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1339 using @code{^} and @code{_}.
1343 \property Score.LyricSyllable \override #'font-family =#'typewriter
1344 \property Score.LyricSyllable \override #'font-shape = #'upright
1345 \context Staff \notes {
1346 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1347 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1348 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1349 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1350 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1351 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1352 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1353 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1355 \context Lyrics \lyrics {
1356 accent__ marcato__ staccatissimo__ fermata
1357 stopped__ staccato__ tenuto__ upbow
1358 downbow__ lheel__ rheel__ ltoe
1359 rtoe__ turn__ open__ flageolet
1360 reverseturn__ trill__ prall__ mordent
1361 prallprall__ prallmordent__ uprall__ downprall
1362 upmordent__ downmordent__ pralldown__ prallup__
1363 lineprall__ thumb__ segno__ coda
1367 linewidth = 5.875\in
1376 Fingering instructions can also be entered in this shorthand. For
1377 finger changes, use markup texts:
1379 @lilypond[verbatim, singleline, fragment]
1380 c'4-1 c'4-2 c'4-3 c'4-4
1385 @cindex @code{\script}
1390 Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
1394 All of these note ornaments appear in the printed output but have no
1395 effect on the MIDI rendering of the music.
1397 Unfortunately, there is no support for adding fingering instructions or
1398 ornaments to individual note heads. Some hacks exist, though. See
1399 @file{input/test/script-horizontal.ly}.
1404 @subsection Text scripts
1405 @cindex Text scripts
1407 In addition, it is possible to place arbitrary strings of text or markup
1408 text (see @ref{Text markup}) above or below notes by using a string:
1411 By default, these indications do not influence the note spacing, but
1412 by using the command @code{\fatText}, the widths will be taken into
1415 @lilypond[fragment,singleline,verbatim] \relative c' {
1416 c4^"longtext" \fatText c4_"longlongtext" c4 }
1419 Text scripts are created in form of @internalsref{TextScript} grobs, in
1420 @internalsref{Voice} context.
1422 @ref{Text markup} describes how to change the font or access
1423 special symbols in text scripts.
1426 @node Adding scripts
1427 @subsection Adding scripts
1429 TODO: should junk this subsect?
1431 You can add scripts by editing @file{scm/script.scm} and
1432 @file{ly/script-init.ly}. This file contains a table, listing script
1433 definitions and aliases. The following syntax accesses a script
1434 definition from the table:
1440 Usually the @code{\script} keyword is not used directly. Various
1441 helpful identifier definitions appear in @file{script.ly}.
1446 @subsection Grace notes
1451 @cindex @code{\grace}
1454 @cindex @code{graceAlignPosition}
1457 Grace notes are ornaments that are written out, but do not take up any
1458 logical time in a measure. LilyPond has limited support for grace notes.
1459 The syntax is as follows.
1461 \grace @var{musicexpr}
1464 Unbeamed eighth notes and shorter by default have a slash through the
1467 @lilypond[fragment,verbatim]
1468 \relative c'' \context Voice {
1469 \grace c8 c4 \grace { [c16 c16] } c4
1471 \property Voice.Stem \override #'flag-style = #'()
1473 \property Voice.Stem \revert #'flag-style
1478 A grace note expression has duration 0; the next real note is assumed to
1479 be the main note. If you want the note to appear after the main note,
1480 set @code{Voice.graceAlignPosition} to @code{1}.
1484 Nesting @code{\grace} notes is not supported. The following may cause
1485 run-time errors: @example
1486 @code{\grace @{ \grace c32 c16 @} c4}
1488 Since the meaning of such a construct is unclear, we don't consider this
1489 a loss. Similarly, juxtaposing two @code{\grace} sections is
1490 syntactically valid, but makes no sense and may cause runtime errors.
1491 Ending a staff or score with grace notes may also generate a run-time
1492 error, since there will be no main note to attach the grace notes to.
1503 @subsection Glissando
1506 @cindex @code{\glissando}
1508 A glissando line (grob @internalsref{Glissando}) can be requested by
1509 attaching a @code{\glissando} to a notte:
1511 @lilypond[fragment,relative,verbatim]
1517 Printing of an additional text (such as @emph{gliss.}) must be done
1524 @subsection Dynamics
1537 @cindex @code{\ffff}
1547 Absolute dynamic marks are specified using an identifier after a
1548 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1549 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1550 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1551 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1553 @lilypond[verbatim,singleline,fragment,relative]
1554 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1560 @cindex @code{\decr}
1561 @cindex @code{\rced}
1567 A crescendo mark is started with @code{\cr} and terminated with
1568 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1569 started with @code{\decr} and terminated with @code{\rced}. There are
1570 also shorthands for these marks. A crescendo can be started with
1571 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1572 can be terminated with @code{\!}. Note that @code{\!} must go before
1573 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1574 after the last note. Because these marks are bound to notes, if you
1575 want several marks during one note, you have to use spacer notes.
1577 @lilypond[fragment,verbatim,center]
1578 c'' \< \! c'' d'' \decr e'' \rced
1579 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1582 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1583 is an example how to do it:
1588 @lilypond[fragment,relative,verbatim]
1590 \property Voice.crescendoText = "cresc."
1591 \property Voice.crescendoSpanner = #'dashed-line
1596 For everyday use, we recommend the identifiers @code{\cresc},
1597 @code{endcresc}, @code{\dim} and @code{\enddim}.
1601 Dynamics are grobs of @internalsref{DynamicText} and
1602 @internalsref{Hairpin}. Vertical positioning of these symbols is handled
1603 by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
1604 padding or vertical direction of the dynamics, you must set properties
1605 for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
1606 to set the vertical direction are \dynamicUp and \dynamicDown.
1608 @cindex direction, of dynamics
1609 @cindex @code{\dynamicDown}
1610 @cindex @code{\dynamicUp}
1618 @cindex @code{\repeat}
1620 To specify repeats, use the @code{\repeat} keyword. Since repeats
1621 should work differently when played or printed, there are a few
1622 different variants of repeats.
1626 Repeated music is fully written (played) out. Useful for MIDI
1627 output, and entering repetitive music.
1630 This is the normal notation: Repeats are not written out, but
1631 alternative endings (voltas) are printed, left to right.
1634 Alternative endings are written stacked. This has limited use but may be
1635 used to typeset two lines of lyrics in songs with repeats, see
1636 @file{input/star-spangled-banner.ly}.
1642 Make beat or measure repeats. These look like percent signs.
1648 * Repeats and MIDI::
1649 * Manual repeat commands::
1651 * Tremolo subdivisions::
1656 @subsection Repeat syntax
1658 The syntax for repeats is
1661 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1664 If you have alternative endings, you may add
1665 @cindex @code{\alternative}
1667 \alternative @code{@{} @var{alternative1}
1669 @var{alternative3} @dots{} @code{@}}
1671 where each @var{alternative} is a music expression.
1673 Normal notation repeats are used like this:
1674 @lilypond[fragment,verbatim]
1676 \repeat volta 2 { c'4 d' e' f' }
1677 \repeat volta 2 { f' e' d' c' }
1680 With alternative endings:
1681 @lilypond[fragment,verbatim]
1683 \repeat volta 2 {c'4 d' e' f'}
1684 \alternative { {d'2 d'} {f' f} }
1687 Folded repeats look like this:
1690 @lilypond[fragment,verbatim]
1692 \repeat fold 2 {c'4 d' e' f'}
1693 \alternative { {d'2 d'} {f' f} }
1697 If you don't give enough alternatives for all of the repeats, then
1698 the first alternative is assumed to be repeated often enough to equal
1699 the specified number of repeats.
1701 @lilypond[fragment,verbatim]
1705 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1706 \alternative { { g4 g g } { a | a a a a | b2. } }
1711 @node Repeats and MIDI
1712 @subsection Repeats and MIDI
1714 @cindex expanding repeats
1716 For instructions on how to unfoldi repeats for MIDI output, see
1717 the example file @file{input/test/unfold-all-repeats.ly}.
1722 Notice that timing information is not remembered at the start of an
1723 alternative, so you have to reset timing information after a repeat,
1724 e.g. using a bar-check (See @ref{Bar check}), setting
1725 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1726 are also not repeated.
1728 It is possible to nest @code{\repeat}s, although this probably is only
1729 meaningful for unfolded repeats.
1731 Folded repeats offer little more over simultaneous music. However, it
1732 is to be expected that more functionality -- especially for the MIDI
1733 backend -- will be implemented at some point in the future.
1735 Volta repeats are printed over all staves in a score. You must turn them
1736 off explicitly, for example by doing
1738 \property Staff.VoltaBracket = \turnOff
1740 in all but the top staff.
1742 @node Manual repeat commands
1743 @subsection Manual repeat commands
1745 @cindex @code{repeatCommands}
1747 The property @code{repeatCommands} can be used to control the layout of
1748 repeats. Its value is a Scheme list of repeat commands, where each repeat
1756 @item (volta . @var{text})
1757 Print a volta bracket saying @var{text}.
1759 Stop a running volta bracket
1762 @lilypond[verbatim, fragment]
1764 \property Score.repeatCommands = #'((volta "93") end-repeat)
1766 \property Score.repeatCommands = #'((volta #f))
1771 Repeats brackets are @internalsref{VoltaBracket} grobs.
1773 @node Tremolo repeats
1774 @subsection Tremolo repeats
1775 @cindex tremolo beams
1777 To place tremolo marks between notes, use @code{\repeat} with tremolo
1779 @lilypond[verbatim,center,singleline]
1781 \context Voice \notes\relative c' {
1782 \repeat "tremolo" 8 { c16 d16 }
1783 \repeat "tremolo" 4 { c16 d16 }
1784 \repeat "tremolo" 2 { c16 d16 }
1785 \repeat "tremolo" 4 c16
1790 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
1791 @internalsref{StemTremolo}.
1796 At present, the spacing between tremolo beams is not regular, since the
1797 spacing engine does not notice that not all notes are printed.
1799 @node Tremolo subdivisions
1800 @subsection Tremolo subdivisions
1801 @cindex tremolo marks
1802 @cindex @code{tremoloFlags}
1804 Tremolo marks can be printed on a single note by adding
1805 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1806 A @var{length} value of 8 gives one line across the note stem. If the
1807 length is omitted, then then the last value (stored in
1808 @code{Voice.tremoloFlags}) is used.
1810 @lilypond[verbatim,fragment,center]
1811 c'2:8 c':32 | c': c': |
1817 Tremolos in this style do not carry over into the MIDI output.
1820 @node Measure repeats
1821 @subsection Measure repeats
1823 @cindex percent repeats
1824 @cindex measure repeats
1826 In the @code{percent} style, a note pattern can be repeated. It is
1827 printed once, and then the pattern is replaced with a special sign.
1828 Patterns of a one and two measures are replaced by percent-like signs,
1829 patterns that divide the measure length are replaced by slashes.
1831 @lilypond[verbatim,singleline]
1832 \context Voice { \repeat "percent" 4 { c'4 }
1833 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1837 The signs are represented by these grobs: @internalsref{RepeatSlash} and
1838 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
1842 You can not nest percent repeats, e.g. by filling in the first measure
1843 with slashes, and repeating that measure with percents.
1845 @node Rhythmic music
1846 @section Rhythmic music
1853 @node Rhythmic staves
1854 @subsection Rhythmic staves
1856 Sometimes you might want to show only the rhythm of a melody. This can
1857 be done with the rhythmic staff. All pitches of notes on such a staff
1858 are squashed, and the staff itself looks has a single staff line:
1860 @lilypond[fragment,relative,verbatim]
1861 \context RhythmicStaff {
1863 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1870 @section Piano music
1872 Piano music is an odd type of notation. Piano staves are two normal
1873 staves coupled with a brace. The staves are largely independent, but
1874 sometimes voices can cross between the two staves. The
1875 @internalsref{PianoStaff} is especially built to handle this cross-staffing
1876 behavior. In this section we discuss the @internalsref{PianoStaff} and some
1877 other pianistic peculiarities.
1880 * Automatic staff changes::
1881 * Manual staff switches::
1884 * Voice follower lines::
1888 @c . {Automatic staff changes}
1889 @node Automatic staff changes
1890 @subsection Automatic staff changes
1891 @cindex Automatic staff changes
1893 Voices can switch automatically between the top and the bottom
1894 staff. The syntax for this is
1896 \autochange @var{contexttype} \context @var{childcontexttype}
1900 This will switch the interpretation context of @var{musicexp} between
1901 a @var{contexttype} named @code{up} and @code{down}. Typically, you
1902 use @internalsref{Staff} for @var{contexttype}, and
1903 @internalsref{Voice} for @var{childcontexttype}. The autochanger
1904 switches on basis of pitch (central C is the turning point), and it
1905 looks ahead skipping over rests to switch rests in advance.
1907 @lilypond[verbatim,singleline]
1908 \score { \notes \context PianoStaff <
1909 \context Staff = "up" {
1910 \autochange Staff \context Voice = VA < \relative c' {
1911 g4 a b c d r4 a g } > }
1912 \context Staff = "down" {
1918 Note how spacer rests are used to prevent the bottom staff from
1919 terminating too soon.
1922 @node Manual staff switches
1923 @subsection Manual staff switches
1925 @cindex manual staff switches
1926 @cindex staff switch, manual
1928 Voices can be switched between staves manually, using the following command:
1930 \translator Staff = @var{staffname} @var{music}
1932 The string @var{staffname} is the name of the staff. It switches the
1933 current voice from its current staff to the Staff called
1934 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1937 The formal definition of this construct is obtuse, but for the sake of
1938 completeness we give it here.
1939 @cindex @code{\translator}
1941 \translator @var{contexttype} = @var{name}
1943 Formally, this construct is a music expression indicating
1944 that the context which is a direct child of the context of type
1945 @var{contexttype} should be shifted to a context of type
1946 @var{contexttype} and the specified name.
1954 Piano pedal instruction can be expressed using
1955 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1956 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1958 These identifiers are shorthands for spanner commands of the types
1959 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
1961 @lilypond[fragment,verbatim]
1962 c''4 \spanrequest \start "Sustain" c''4
1963 c''4 \spanrequest \stop "Sustain"
1966 The symbols that are printed can be modified by setting
1967 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
1968 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
1969 @rgrob{SustainPedal}, for example, for more information.
1971 Pedals can also be indicated by a sequence of brackets, by setting the
1972 @code{pedal-type} property of SustainPedal grobs:
1974 @lilypond[fragment,verbatim]
1975 \property Staff.SustainPedal \override #'pedal-type = #'bracket
1976 c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1979 A third style of pedal notation is a mixture of text and brackets,
1980 obtained by setting @code{pedal-type} to @code{mixed}:
1982 @lilypond[fragment,verbatim]
1983 \property Staff.SustainPedal \override #'pedal-type = #'mixed
1984 c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1987 The default '*Ped' style for sustain and damper pedals corresponds to
1988 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
1989 for a sostenuto pedal:
1991 @lilypond[fragment,verbatim]
1992 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
1995 For fine-tuning of the appearance of a pedal bracket, the properties
1996 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
1997 @code{PianoPedalBracket} grobs (see the detailed documentation of
1998 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
1999 may be extended to the end of the note head.
2001 @lilypond[fragment,verbatim]
2002 \property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
2003 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2010 @subsection Arpeggio
2013 @cindex broken arpeggio
2014 @cindex @code{\arpeggio}
2016 You can specify an arpeggio sign on a chord by attaching an
2017 @code{\arpeggio} to a note of the chord.
2020 @lilypond[fragment,relative,verbatim]
2021 \context Voice <c\arpeggio e g c>
2024 When an arpeggio crosses staves in piano music, you attach an arpeggio
2025 to the chords in both staves, and set
2026 @code{PianoStaff.connectArpeggios}.
2028 @lilypond[fragment,relative,verbatim]
2029 \context PianoStaff <
2030 \property PianoStaff.connectArpeggios = ##t
2031 \context Voice = one { <c'\arpeggio e g c> }
2032 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2036 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2037 are @code{PianoStaff.Arpeggio}.
2039 To add an arrow head to explicitly specify the direction of the
2040 arpeggio, you should set the arpeggio grob property
2041 @code{arpeggio-type}.
2043 @lilypond[fragment,relative,verbatim]
2045 \property Voice.Arpeggio \override #'arpeggio-direction = #1
2047 \property Voice.Arpeggio \override #'arpeggio-direction = #-1
2052 A square bracket on the left indicates that the player should not
2053 arpeggiate the chord. To draw these brackets, set the
2054 @code{molecule-callback} property of @code{Arpeggio} or
2055 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2056 @code{\arpeggio} statements within the chords as before.
2058 @lilypond[fragment,relative,verbatim]
2059 \context PianoStaff <
2060 \property PianoStaff.connectArpeggios = ##t
2061 \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
2062 \context Voice = one { <c'\arpeggio e g c> }
2063 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2070 It is not possible to mix connected arpeggios and unconnected arpeggios
2075 @node Voice follower lines
2076 @subsection Voice follower lines
2078 @cindex follow voice
2079 @cindex staff switching
2082 @cindex @code{followVoice}
2084 Whenever a voice switches to another staff a line connecting the notes
2085 can be printed automatically. This is enabled if the property
2086 @code{PianoStaff.followVoice} is set to true:
2088 @lilypond[fragment,relative,verbatim]
2089 \context PianoStaff <
2090 \property PianoStaff.followVoice = ##t
2091 \context Staff \context Voice {
2093 \translator Staff=two
2096 \context Staff=two {\clef bass \skip 1*2 }
2100 The associated grob is @internalsref{VoiceFollower}.
2110 * Automatic syllable durations::
2116 @subsection Lyrics mode
2119 To print lyrics, you must first make a music expression from the lyric
2120 text. That music expression can be printed by selecting an appropriate
2124 @cindex @code{\lyrics}
2126 You can enter lyrics in a special input mode of LilyPond. This mode is
2127 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
2128 The purpose of this mode is that you can enter lyrics as plain text,
2129 punctuation and accents without any hassle.
2131 Syllables are entered like notes, with pitches replaced by text. For
2132 example, @code{Twin- kle twin- kle} enters four syllables. Note that
2133 the hyphen has no special meaning for lyrics, and does not introduce
2136 Spaces can be introduced into a lyric either by using quotes:
2137 @code{"He could"4 not4} or by using an underscore without quotes:
2138 @code{He_could4 not4}. All unquoted underscores are converted to
2141 The precise definition of this mode can be found in @ref{Lyrics mode
2144 @c . {Printing lyrics}
2145 @node Printing lyrics
2146 @subsection Printing lyrics
2149 Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
2151 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
2152 @c Add tied and beamed melismata too.
2153 @lilypond[verbatim,singleline]
2155 \notes \relative c' {
2157 \property Staff.automaticMelismata = ##t
2158 d'2 c4 b16 ( a g a b a b ) c a2
2159 b2 c4 b8 ( a16 g ) a4 g2 }
2160 \context Lyrics \lyrics {
2162 share the soft -- ware; }
2166 Notes and syllable durations are matched automatically. This is
2167 accomplished using @code{\addlyrics}, which is documented in
2168 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2169 the melody staff will cause tied, slurred or beamed notes to be
2170 interpreted as melismata.
2172 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2175 @cindex lyric extender
2178 As you can see, extender lines are entered as @code{__}. This will
2179 create an extender, a line that extends over the entire duration of the
2180 lyric. This line will run all the way to the start of the next lyric,
2181 so you may want to shorten it by using a blank lyric (using @code{_}).
2182 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2187 If you want to have hyphens centered between syllables (rather than
2188 attached to the end of the first syllable) you can use the special
2189 `@code{-}@code{-}' lyric as a separate word between syllables. This
2190 will result in a hyphen whose length varies depending on the space
2191 between syllables. It will be centered between the syllables. The grob
2192 for this symbol is @code{LyricsVoice.LyricHyphen}.
2194 @cindex Lyric hyphen
2196 @node Automatic syllable durations
2197 @subsection Automatic syllable durations
2198 @cindex Automatic syllable durations
2200 @cindex automatic lyric durations
2201 @cindex @code{\addlyrics}
2203 If you have lyrics that are set to a melody, you can copy the rhythm
2204 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2207 \addlyrics @var{musicexpr1 musicexpr2}
2210 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2211 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2212 when there are events in @var{musicexpr1}.
2214 @cindex @code{automaticMelismata}
2216 If the property @code{automaticMelismata} is set in the
2217 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2220 @lilypond[verbatim,fragment]
2223 \property Voice.automaticMelismata = ##t
2224 c8 () cis d8. e16 f2
2226 \context Lyrics \lyrics {
2230 If you want the lyric lines to be above the melody staff, or in some
2231 other, more complex configuration, then build that configuration first
2232 using simultaneous music, and use @code{\addlyrics} after that.
2234 @lilypond[verbatim, singleline]
2236 \context Lyrics = LA { s1 }
2237 \context Staff = SA { s1 }
2239 \context Staff = SA \relative c' { c4 e g g }
2240 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2243 For @code{\addlyrics} you should use a single rhythm melody, and single
2244 rhythm lyrics (a constant duration is the obvious choice). If you do
2245 not, you can get undesired effects when using multiple stanzas:
2247 @lilypond[verbatim,fragment]
2250 c8 () cis d8. e16 f2
2252 \context Lyrics \lyrics
2257 It is valid (but probably not very useful) to use notes instead of
2258 lyrics for @var{musicexpr2}.
2261 @subsection More stanzas
2265 If you have multiple stanzas printed underneath each other, the vertical
2266 groups of syllables should be aligned around punctuation. LilyPond can
2267 do this if you tell it which lyric lines belong to which melody.
2269 To this end, give the Voice context an identity, and set the LyricsVoice
2270 to a name starting with that identity followed by a dash.
2271 In the following example, the Voice
2272 identity is @code{duet}, and the identities of the LyricsVoices are
2273 @code{duet-1} and @code{duet-2}.
2276 @lilypond[singleline,verbatim]
2279 \notes \relative c'' \context Voice = duet { \time 3/4
2281 \lyrics \context Lyrics <
2282 \context LyricsVoice = "duet-1" {
2283 \property LyricsVoice . stanza = "Bert"
2284 Hi, my name is bert. }
2285 \context LyricsVoice = "duet-2" {
2286 \property LyricsVoice . stanza = "Ernie"
2287 Ooooo, ch\'e -- ri, je t'aime. }
2292 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2293 first system) and @code{LyricsVoice.stz} for the following
2294 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2300 @cindex stanza numbering
2308 LilyPond has support for both entering and printing chords. Chords are
2309 characterized by a set of pitches. They are
2310 internally stored as simultaneous music expressions. This means you can
2311 enter chords by name and print them as note head, enter them as notes
2312 and print them as chord names, or (the most common case) enter them by
2313 name, and print them as name.
2316 @lilypond[verbatim,singleline]
2317 twoWays = \notes \transpose c'' {
2327 < \context ChordNames \twoWays
2328 \context Voice \twoWays > }
2331 Note that this example also shows that the chord printing routines do
2332 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2333 interpret this as an inversion.
2337 * Printing named chords::
2342 @subsection Chords mode
2345 Chord mode is a mode where you can input sets of pitches using common
2346 names. It is introduced by the keyword @code{\chords}. It is similar
2347 to note mode, but words are also looked up in a chord modifier table
2348 (containing @code{maj}, @code{dim}, etc).
2350 Dashes and carets are used to indicate chord additions and subtractions,
2351 so articulation scripts can not be entered in Chord mode.
2353 The syntax for named chords is as follows:
2355 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2358 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2359 the chord duration in the usual notation. There are two kinds of
2360 modifiers. One type is formed by @emph{chord additions}. Additions are
2361 obtained by listing intervals separated by dots. An interval is written
2362 by its number with an optional @code{+} or @code{-} to indicate raising
2363 or lowering by half a step. Chord additions have two effects: they adds
2364 the specified interval and all lower odd numbered intervals to the
2365 chord, and they may lower or raise the specified interval.
2367 Throughout these examples, chords have been shifted around the staff
2368 using @code{\transpose}.
2370 @lilypond[fragment,verbatim]
2374 c:9 c:9-.5+.7+ c:3-.5-
2384 The second type of modifier that may appear after the @code{:} is a
2385 named modifier. Named modifiers are listed in the file
2386 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2387 @code{min} which lower the 3rd half a step, `@code{aug}' which
2388 raises the 5th, `@code{dim}' which lowers the 5th,
2389 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2390 which replaces the 5th with a 4th.
2392 @lilypond[fragment,verbatim]
2395 c1:m c:min7 c:maj c:aug c:dim c:sus
2401 Chord subtractions are used to eliminate notes from a chord. The
2402 notes to be subtracted are listed after a @code{^} character,
2405 @lilypond[fragment,verbatim,center]
2414 Chord inversions can be specified by appending `@code{/}' and the name
2415 of a single note to a chord. In a chord inversion, the inverted note is
2416 transposed down until it is the lowest note in the chord. If the note
2417 is not in the chord, a warning will be printed.
2419 @lilypond[fragment,verbatim,center]
2429 Bass notes can be added by `@code{/+}' and
2430 the name of a single note to a chord. This has the effect of
2431 adding the specified note to the chord, lowered by an octave,
2432 so it becomes the lowest note in the chord.
2434 @lilypond[fragment,verbatim,center]
2445 Implementation details are quite gory. For example @code{c:4} not only
2446 adds a fourth, but also removes the third.
2449 @c . {Printing named chords}
2450 @node Printing named chords
2451 @subsection Printing named chords
2453 @cindex printing chord names
2457 For displaying printed chord names, use the @internalsref{ChordNames} context.
2458 The chords may be entered either using the notation described above, or
2459 directly using simultaneous music.
2461 @lilypond[verbatim,singleline]
2463 \chords {a1 b c} <d f g> <e g b>
2467 \context ChordNames \scheme
2468 \context Staff \transpose c'' \scheme
2473 You can make the chord changes stand out by setting
2474 @code{ChordNames.chordChanges} to true. This will only display chord
2475 names when there's a change in the chords scheme and at the start of a
2480 c1:m c:m \break c:m c:m d
2484 \context ChordNames {
2485 \property ChordNames.chordChanges = ##t
2487 \context Staff \transpose c'' \scheme
2491 LilyPond examines chords specified as lists of notes to determine a name
2492 to give the chord. LilyPond will not try to identify chord inversions or
2493 an added bass note, which may result in strange chord names when chords
2494 are entered as a list of pitches:
2496 @lilypond[verbatim,center,singleline]
2505 \context ChordNames \scheme
2506 \context Staff \scheme
2512 By default, a chord name system proposed by Harald Banter (See
2513 @ref{Literature}) is used. The system is very regular and predictable.
2514 Typical American style chord names may be selected by setting the
2515 @code{style} property of the @code{ChordNames.ChordName} grob to
2516 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2518 Routines that determine the names to be printed are written in Scheme,
2519 and may be customized by the user. The code can be found in
2520 @file{scm/chord-name.scm}. Here's an example showing the differences in
2524 @c maybe just junk verbatim option?
2525 @lilypond[verbatim,singleline]
2535 \context ChordNames = banter \scheme
2536 \context ChordNames = american {
2537 \property ChordNames.ChordName \override
2538 #'style = #'american \scheme }
2539 \context ChordNames = jazz {
2540 \property ChordNames.ChordName \override
2541 #'style = #'jazz \scheme }
2542 \context Staff \transpose c'' \scheme
2549 @section Writing parts
2551 Orchestral music involves some special notation, both in the full score,
2552 as in the individual parts. This section explains how to tackle common
2553 problems in orchestral music.
2560 * Instrument names::
2562 * Sound output for transposing instruments::
2563 * Multi measure rests::
2564 * Automatic part combining::
2565 * Hara kiri staves::
2568 @c . {Rehearsal marks}
2569 @node Rehearsal marks
2570 @subsection Rehearsal marks
2571 @cindex Rehearsal marks
2573 @cindex @code{\mark}
2577 \mark @var{unsigned}
2582 This command prints a rehearsal mark above the system. You can provide
2583 a number, a string or a markup text as argument. If you use
2584 @code{\default}, the value of property @code{rehearsalMark} is used and
2585 automatically incremented.
2587 @lilypond[fragment,verbatim]
2593 c1 \mark #'(music "scripts-segno")
2598 The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
2599 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2602 @subsection Bar numbers
2606 @cindex measure numbers
2607 @cindex currentBarNumber
2609 Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
2610 start of the line. The number itself is a property that can be set by
2611 modifying the @code{currentBarNumber} property, i.e.
2613 \property Score.currentBarNumber = #217
2616 If you want boxed bar numbers, see the example file
2617 @code{input/test/boxed-molecule.ly}.
2621 It is not possible to have bar numbers printed at regular intervals
2624 @node Instrument names
2625 @subsection Instrument names
2627 You can specify an instrument name for a staff by setting
2628 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2629 before the start of the staff. For the first start, @code{instrument} is
2630 used, for the next ones @code{instr} is used.
2632 @lilypond[verbatim,singleline]
2633 \property Staff.instrument = "ploink " { c''4 }
2636 You can also use markup texts to construct more complicated instrument
2640 @lilypond[verbatim,singleline]
2642 '((font-relative-size . -2 ) (music "accidentals--1")))
2645 \property Staff.instrument = #`((kern . 0.5) (lines
2646 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2654 When you put a name on a grand staff or piano staff the width of the
2655 brace is not taken into account. You must add extra spaces to the end of
2656 the name to avoid a collision.
2659 @subsection Transpose
2661 @cindex transposition of pitches
2662 @cindex @code{\transpose}
2664 A music expression can be transposed with @code{\transpose}. The syntax
2667 \transpose @var{pitch} @var{musicexpr}
2670 This means that middle C in @var{musicexpr} is transposed to
2673 @code{\transpose} distinguishes between enharmonic pitches: both
2674 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2675 a tone. The first version will print sharps and the second version
2678 @lilypond[fragment,verbatim]
2681 { \key e \major c d e f }
2683 \transpose des'' { \key e \major c d e f }
2684 \transpose cis'' { \key e \major c d e f }
2688 If you want to use both @code{\transpose} and @code{\relative}, then
2689 you must use @code{\transpose} first. @code{\relative} will have no
2690 effect music that appears inside a @code{\transpose}.
2692 @node Sound output for transposing instruments
2693 @subsection Sound output transposing instruments
2695 When you want to make a MIDI file from a score containing transposed and
2697 instruments, you have to instruct LilyPond the pitch offset (in
2698 semitones) for the transposed instruments. This is done using the
2699 @code{transposing} property. It does not affect printed output.
2701 @cindex @code{transposing}
2704 \property Staff.instrument = #"Cl. in B-flat"
2705 \property Staff.transposing = #-2
2708 @c . {Multi measure rests}
2709 @node Multi measure rests
2710 @subsection Multi measure rests
2711 @cindex Multi measure rests
2715 Multi measure rests are entered using `@code{R}'. It is specifically
2716 meant for full bar rests and for entering parts: the rest can expand to
2718 rests, or it can be printed as a single multimeasure rest This expansion
2719 is controlled by the property @code{Score.skipBars}. If this is set to true,
2720 Lily will not expand empty measures, and the appropriate number is added
2723 @lilypond[fragment,verbatim]
2724 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2727 Notice that the @code{R2.} is printed as a whole rest, centered in the
2730 @cindex whole rests for a full measure
2732 The grob for this object is @internalsref{MultiMeasureRest}.
2736 Currently, there is no way to automatically condense multiple rests into
2737 a single multimeasure rest.
2739 @cindex condensing rests
2741 @node Automatic part combining
2742 @subsection Automatic part combining
2743 @cindex automatic part combining
2744 @cindex part combiner
2747 Automatic part combining is used to merge two parts of music onto a
2748 staff in an intelligent way. It is aimed primarily at typesetting
2749 orchestral scores. When the two parts are identical for a period of
2750 time, only one is shown. In places where the two parts differ, they are
2751 typeset as separate voices, and stem directions are set automatically.
2752 Also, solo and @emph{a due} parts can be identified and marked.
2754 The syntax for part combining is
2757 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2759 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2760 combined into one context of type @var{context}. The music expressions
2761 must be interpreted by contexts whose names should start with @code{one}
2764 The most useful function of the part combiner is to combine parts into
2765 one voice, as common for wind parts in orchestral scores:
2767 @lilypond[verbatim,singleline,fragment]
2769 \context Voice=one \partcombine Voice
2770 \context Thread=one \relative c'' {
2773 \context Thread=two \relative c'' {
2779 Notice that the first @code{g} appears only once, although it was
2780 specified twice (once in each part). Stem, slur and tie directions are
2781 set automatically, depending whether there is a solo or unisono. The
2782 first part (with context called @code{one}) always gets up stems, and
2783 `solo', while the second (called @code{two}) always gets down stems and
2786 If you just want the merging parts, and not the textual markings, you
2787 may set the property @var{soloADue} to false.
2789 @lilypond[verbatim,singleline,fragment]
2791 \property Staff.soloADue = ##f
2792 \context Voice=one \partcombine Voice
2793 \context Thread=one \relative c'' {
2796 \context Thread=two \relative c'' {
2802 There are a number of other properties that you can use to tweak the
2803 behavior of part combining, refer to the automatically generated
2804 documentation of @reng{Thread_devnull_engraver} and
2805 @reng{Voice_devnull_engraver}. Look at the documentation of the
2806 responsible engravers, @code{Thread_devnull_engraver},
2807 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2811 In @code{soloADue} mode, when the two voices play the same notes on and
2812 off, the part combiner may typeset @code{a2} more than once in a
2815 @lilypond[fragment,singleline]
2817 \context Voice=one \partcombine Voice
2818 \context Thread=one \relative c'' {
2821 \context Thread=two \relative c'' {
2827 @cindex @code{Thread_devnull_engraver}
2828 @cindex @code{Voice_engraver}
2829 @cindex @code{A2_engraver}
2831 @node Hara kiri staves
2832 @subsection Hara kiri staves
2834 In orchestral scores, staff lines that only have rests are usually removed.
2835 This saves some space. LilyPond also supports this through the hara
2836 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2837 the Japanese Samourai warriors.} staff. This staff commits suicide when
2838 it finds itself to be empty after the line-breaking process. It will
2839 not disappear when it contains normal rests, you must use multi measure
2842 The hara kiri staff is specialized version of the @internalsref{Staff}
2843 context. It is available as the context identifier
2844 @code{\HaraKiriStaffContext}. Observe how the second staff in this
2845 example disappears in the second line.
2849 \notes \relative c' <
2850 \context Staff = SA { e4 f g a \break c1 }
2851 \context Staff = SB { c4 d e f \break R1 }
2855 \translator { \HaraKiriStaffContext }
2863 @node Ancient notation
2864 @section Ancient notation
2867 * Ancient note heads::
2872 @node Ancient note heads
2873 @subsection Ancient note heads
2875 To get a longa note head, you have to use mensural note heads. This
2876 is accomplished by setting the @code{style} property of the
2877 NoteHead grob to @code{mensural}. There is also a note head style
2878 @code{baroque} which gives mensural note heads for @code{\longa} and
2879 @code{\breve} but standard note heads for shorter notes.
2881 @lilypond[fragment,singleline,verbatim]
2882 \property Voice.NoteHead \set #'style = #'mensural
2883 \property Voice.NoteHead \set #'font-family = #'ancient
2888 @subsection Custodes
2893 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2894 staff context symbol that appears at the end of a staff line. It
2895 anticipates the pitch of the first note(s) of the following line and
2896 thus helps the player or singer to manage line breaks during
2897 performance, thus enhancing readability of a score.
2902 \property Staff.Custos \set #'style = #'mensural
2907 \consists Custos_engraver
2913 Custodes were frequently used in music notation until the 17th century.
2914 There were different appearances for different notation styles.
2915 Nowadays, they have survived only in special forms of musical notation
2916 such as via the @emph{editio vaticana} dating back to the beginning of
2919 For typesetting custodes, just put a @code{Custos_engraver} into the
2920 @internalsref{Staff} context when declaring the @code{\paper} block. In this
2921 block, you can also globally control the appearance of the custos symbol
2922 by setting the custos @code{style} property. Currently supported styles
2923 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2930 \consists Custos_engraver
2931 Custos \override #'style = #'mensural
2936 The property can also be set locally, for example in a @code{\notes}
2941 \property Staff.Custos \override #'style = #'vaticana
2942 c'1 d' e' d' \break c' d' e' d'
2947 @section Ancient clefs
2949 LilyPond supports a variety of clefs, many of them ancient. These can
2950 be selected from the @code{ancient} font family, by setting
2951 @code{Staff.clefGlyph}) to the following values
2960 @item clefs-vaticana_do
2961 Editio Vaticana style do clef
2962 @item clefs-vaticana_fa
2963 Editio Vaticana style fa clef
2964 @item clefs-medicaea_do
2965 Editio Medicaea style do clef
2966 @item clefs-medicaea_fa
2967 Editio Medicaea style fa clef
2968 @item clefs-mensural1_c
2969 modern style mensural C clef
2970 @item clefs-mensural2_c
2971 historic style small mensural C clef
2972 @item clefs-mensural3_c
2973 historic style big mensural C clef
2974 @item clefs-mensural1_f
2975 historic style traditional mensural F clef
2976 @item clefs-mensural2_f
2977 historic style new mensural F clef
2978 @item clefs-mensural_g
2979 historic style mensural G clef
2980 @item clefs-hufnagel_do
2981 historic style hufnagel do clef
2982 @item clefs-hufnagel_fa
2983 historic style hufnagel fa clef
2984 @item clefs-hufnagel_do_fa
2985 historic style hufnagel combined do/fa clef
2986 @item clefs-percussion
2987 modern style percussion clef
2990 @emph{Modern style} means ``as is typeset in current editions.''
2991 @emph{Historic style} means ``as was typeset or written in contemporary
2992 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
2995 @cindex Vaticana, Editio
2996 @cindex Medicaea, Editio
2997 @cindex hufnagel clefs
3003 @section Figured bass
3005 @cindex Basso continuo
3007 TODO. see figured-bass.ly
3009 @c . {Tuning output}
3011 @section Tuning output
3013 LilyPond tries to take as much formatting as possible out of your
3014 hands. Nevertheless, there are situations where it needs some help, or
3015 where you want to override its decisions. In this section we discuss
3016 ways to do just that.
3018 Formatting is internally done by manipulating so called grobs (graphic
3019 objects). Each grob carries with it a set of properties (grob
3020 properties) specific to that object. For example, a stem grob has
3021 properties that specify its direction, length and thickness.
3023 The most direct way of tuning the output is by altering the values of
3024 these properties. There are two ways of doing that: first, you can
3025 temporarily change the definition of a certain type of grob, thus
3026 affecting a whole set of objects. Second, you can select one specific
3027 object, and set a grob property in that object.
3030 * Tuning groups of grobs ::
3031 * Tuning per grob ::
3039 @node Tuning groups of grobs
3040 @subsection Tuning groups of grobs
3042 @cindex grob description
3046 A grob definition is a Scheme association list, that is stored in a
3047 context property. By assigning to that property (using plain
3048 @code{\property}), you can change the resulting grobs.
3050 @lilypond[verbatim, fragment]
3051 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
3054 The @code{\property} assignment effectively empties the definition of
3055 the Stem object. One of the effects is that the recipe of how it should be
3056 printed is erased, with the effect of rendering it invisible. The above
3057 assignment is available as a standard identifier, for the case that you
3061 \property Voice.Stem = \turnOff
3068 This mechanism is fairly crude, since you can only set, but not modify,
3069 the definition of a grob. For this reason, there is a more advanced
3072 The definition of a grob is actually a list of default grob
3073 properties. For example, the definition of the Stem grob (available in
3074 @file{scm/grob-description.scm}), defines the following values for
3079 (beamed-lengths . (0.0 2.5 2.0 1.5))
3080 (Y-extent-callback . ,Stem::height)
3084 You can add a property on top of the existing definition, or remove a
3085 property, thus overriding the system defaults:
3087 c'4 \property Voice.Stem \override #'thickness = #4.0
3088 c'4 \property Voice.Stem \revert #'thickness
3091 You should balance @code{\override} and @code{\revert}. If that's too
3092 much work, you can use the @code{\set} shorthand. It performs a revert
3093 followed by an override. The following example gives exactly the same
3094 result as the previous one.
3096 c'4 \property Voice.Stem \set #'thickness = #4.0
3097 c'4 \property Voice.Stem \set #'thickness = #0.8
3100 If you use @code{\set}, you must explicitly restore the default.
3103 Formally the syntax for these constructions is
3105 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3106 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3107 \property @var{context}.@var{grobname} \revert @var{symbol}
3109 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3110 and @var{grobname} are strings and @var{value} is a Scheme expression.
3113 If you revert a setting which was not set in the first place, then it
3114 has no effect. However, if the setting was set as a system default, it
3115 may remove the default value, and this may give surprising results,
3116 including crashes. In other words, @code{\override} and @code{\revert},
3117 must be carefully balanced.
3119 These are examples of correct nesting of @code{\override}, @code{\set},
3122 A clumsy but correct form:
3124 \override \revert \override \revert \override \revert
3127 Shorter version of the same:
3129 \override \set \set \revert
3132 A short form, using only @code{\set}. This requires you to know the
3135 \set \set \set \set @var{to default value}
3138 If there is no default (i.e. by default, the grob property is unset),
3141 \set \set \set \revert
3144 For the digirati, the grob description is an Scheme association
3145 list. Since a Scheme list is a singly linked list, we can treat it as a
3146 stack, and @code{\override} and @code{\revert} are just push and pop
3147 operations. This pushing and popping is also used for overriding
3148 automatic beaming settings.
3152 LilyPond will hang or crash if @var{value} contains cyclic references.
3153 The backend is not very strict in type-checking grob properties. If you
3154 @code{\revert} properties that are expected to be set by default,
3157 Some grobs are created at the moment that their context is created. An
3158 example of such a grob is the staff itself (i.e. the horizontal lines).
3159 You can not change the appearance of the staff symbol by manipulating
3160 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3161 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3162 created before any @code{\override} is effective. You can deal with this
3163 either overriding properties in a @code{\translator} definition, or by
3164 using @code{\outputproperty}.
3169 @node Tuning per grob
3170 @subsection Tuning per grob
3172 @cindex \outputproperty
3174 A second way of tuning grobs is the more arcane @code{\outputproperty}
3175 feature. The syntax is as follows:
3177 \outputproperty @var{predicate} @var{symbol} = @var{value}
3179 Here @code{predicate} is a Scheme function taking a grob argument, and
3180 returning a boolean. This statement is processed by the
3181 @code{Output_property_engraver}. It instructs the engraver to feed all
3182 grobs that it sees to @var{predicate}. Whenever the predicate returns
3183 true, the grob property @var{symbol} will be set to @var{value}.
3185 You will need to combine this statement with @code{\context} to select
3186 the appropriate context to apply this to.
3188 Here are some random examples.
3191 In the following example, all note heads occurring at current staff
3192 level, are shifted up and right by setting their @code{extra-offset}
3195 @lilypond[fragment,verbatim,singleline]
3197 \context Staff \outputproperty
3198 #(make-type-checker 'note-head-interface)
3199 #'extra-offset = #'(0.5 . 0.75)
3203 @cindex @code{extra-offset}
3205 In this example, the predicate checks the @code{text} grob property, to
3206 shift only the `m.d.' text, but not the fingering instruction "2".
3207 @lilypond[verbatim,singleline]
3208 #(define (make-text-checker text)
3209 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3212 \notes\relative c''' {
3213 \property Voice.Stem \set #'direction = #1
3214 \outputproperty #(make-text-checker "m.d.")
3215 #'extra-offset = #'(-3.5 . -4.5)
3223 If possible, avoid this feature: the semantics are not very clean, and
3224 the syntax and semantics are up for rewrite.
3230 @subsection What to tune?
3232 This all tells you how to tune grobs, but you don't know what variables
3233 to set? The question is not answered in this part of the manual
3234 (although you may encounter some examples.).
3236 Grob properties are tied directly to the implementation of LilyPond, and
3237 they are thus a moving target. Documentation of such variables is in the
3238 automatically generated documentation. Description of properties are
3239 generated from the source code for each version. This documentation is
3240 therefore more up to date. It should be available from the same place
3241 where you got this manual.
3243 To decide how to tune a grob, you need to find the following information
3246 which grob to modify
3248 which property to modify
3250 which context the grob comes from.
3253 Included with the automatically generated documentation is a master list
3254 of grobs. Selecting a grob will take you to an overview of the
3255 properties available for that grob.
3257 There is also a master list of contexts. Selecting one takes you to an
3258 overview of that context which lists which grob types are created there.
3261 @node Font selection
3262 @subsection Font selection
3264 Most graphics in LilyPond are composed of characters of fonts. You can
3265 alter the characteristics of the font by setting certain grob
3266 properties. The mechanism that is used for this resembles La@TeX{}'s New
3267 Font Selection Scheme. Within this scheme, a font is entirely
3268 characterized by its font name.
3270 For each grob that uses fonts (in other words, each grob that supports
3271 @code{font-interface}) a font-name must be selected before it can be
3272 printed. The font name is selected by looking at a number of grob
3277 A symbol indicating the general class of the typeface. Supported are
3278 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3279 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3280 signs) and @code{typewriter}
3283 A symbol indicating the shape of the font, there are typically several
3284 font shapes available for each font family. Choices are @code{italic},
3285 @code{caps} and @code{upright}
3288 A symbol indicating the series of the font. There are typically several
3289 font series for each font family and shape. Choices are @code{medium}
3292 @item font-relative-size
3293 A number indicating the size relative the standard size. For example,
3294 with 20pt staff height, relative size -1 corresponds to 16pt staff
3295 height, and relative size +1 corresponds to 23 pt staff height.
3297 @item font-design-size
3298 A number indicating the design size of the font.
3300 This is a feature of the Computer Modern Font: each point size has a
3301 slightly different design. Smaller design sizes are relatively wider,
3302 which enhances readability. Scalable type faces such TrueType and Adobe
3303 Type1 usually come as ``one design fits all sizes''.
3306 The name of the font, without the design size, e.g. @code{cmr},
3307 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3314 The font is selected by taking the first font that satisfies all
3315 qualifiers specified. You can override any of these fields through
3316 @code{\override} and @code{\revert}. The special value @code{*} matches
3317 any value for that qualifier.
3320 \property Lyrics.LyricText \override #'font-series = #'bold
3321 \property Lyrics.LyricText \override #'font-shape = #'*
3324 @cindex @code{font-style}
3326 There are also pre-cooked font selection qualifiers. These are selected
3327 through the grob property @code{font-style}. For example, the style
3328 @code{finger} selects family @code{number} and relative size @code{-3}.
3329 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3330 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3333 The style sheets and tables for selecting fonts are located in
3334 @file{scm/font.scm}. Refer to this file for more information.
3337 Setting @code{font-name} overrides all other qualifiers. The value for
3338 this property should be a string, the file name of the font. You may use
3339 this to use special fonts, which are not a part of the style sheet, or
3340 which have special encodings.
3342 The size of the font may be set with the grob property
3343 @code{font-magnification}. It is the size of font, relative to its
3344 standard size. For example, @code{1.0} is normal size.
3348 Relative size is not linked to any real size.
3350 There is no style sheet provided for other fonts besides the @TeX{}
3353 @cindex font selection
3354 @cindex font magnification
3355 @cindex @code{font-interface}
3359 @subsection Text markup
3363 LilyPond has an internal mechanism to typeset texts. You can
3364 form text markup expressions by composing scheme expressions
3365 in the following way.
3367 @lilypond[verbatim, singleline]
3372 c^#'(italic "italic")
3373 d_#'((bold italic) "ff")
3375 f_#'(lines "one" (bold "two"))
3376 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3380 Normally, the Scheme markup text is stored in the @code{text} property
3381 of a grob. Formally, it is defined as follows:
3384 text: string | (head? text+)
3385 head: markup | (markup+)
3386 markup-item: property | abbrev
3387 property: (@var{key} . @var{value})
3388 abbrev: @code{columns lines roman music bold italic named super sub}
3389 @code{overstrike text finger volta timesig mmrest mark script}
3390 @code{large Large dynamic}
3393 The markup is broken down and converted into a list of grob properties,
3394 which are prepended to the property list. The @var{key}-@var{value}
3395 pair is a grob property. A list of properties available is included in
3396 the generated documentation for @rint{Text_interface}.
3398 The following abbreviations are currently defined:
3401 horizontal mode: set all text on one line (default)
3403 vertical mode: set every text on a new line
3407 selects the Feta font (the standard font for music notation glyphs),
3408 and uses named lookup
3415 lookup by character name
3417 plain text lookup (by character value)
3423 the next text or character overstrikes this one
3425 select fingering number fontstyle
3427 select volta number fontstyle
3429 select time signature number fontstyle
3431 select multi measure rest number fontstyle
3433 select mark number fontstyle
3435 select scriptsize roman fontstyle
3437 select large roman fontstyle
3439 select Large roman fontstyle
3441 select dynamics fontstyle
3445 @cindex metronome mark
3447 One practical application of complicated markup is to fake a metronome
3451 #(define note '(columns
3452 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3453 #(define eight-note `(columns ,note ((kern . -0.1)
3454 (music ((raise . 3.5) "flags-u3")))))
3455 #(define dotted-eight-note
3456 `(columns ,eight-note (music "dots-dot")))
3459 \notes\relative c'' {
3460 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3466 TextScript \override #'font-shape = #'upright
3472 @node Invisible grobs
3473 @subsection Invisible grobs
3474 @cindex invisible grobs
3478 ben nog steeds niet kapot van de informatiedichtheid hier.
3484 You can imagine a number of situations where you would want to make
3485 certain grobs not show up in the output. There may be aesthetic
3486 reasons, to make the output resemble an (old) manuscript as close as
3487 possible, or to make lessons or exercises for students.
3489 Grobs can be made invisible in a number of ways:
3491 Here's an example with blanked-out notes and stems:
3492 @lilypond[singleline,verbatim]
3494 \property Voice.NoteHead \override
3496 \property Voice.Stem \override
3497 #'transparent = ##t }
3500 \property Voice.NoteHead \revert #'transparent
3501 \property Voice.Stem \revert #'transparent }
3504 \notes\relative c'' {
3506 a b c b \blanknotes c \unblanknotes d
3510 This method makes the grobs invisible but they still take the normal space.
3511 To remove all traces of the grob, you can redefine the function
3515 \notes\relative c'' {
3518 as bes c bes c d \break
3519 \property Staff.KeySignature \override #'molecule-callback = #'()
3522 \paper{linewidth=5.0\cm indent=0}
3526 A very rigorous way of removing grobs from the whole score is to remove
3527 the engraver that creates them. For example,
3529 @lilypond[singleline,verbatim]
3530 \score {\notes { c'4 d'8 e'8 g2 }
3531 \paper { \translator {
3533 \remove Stem_engraver
3539 @subsection Dirty tricks
3540 @cindex embedded tex
3542 It is possible to use @TeX{} commands in the strings, but this should be
3543 avoided because it makes it impossible for LilyPond to compute the
3544 exact length of the string, which may lead to collisions. Also, @TeX{}
3545 commands won't work with direct PostScript output (see @ref{PostScript
3548 @lilypond[fragment,relative,verbatim]
3549 a'^"3 $\\times$ \\`a deux"
3552 You can also use raw PostScript commands embedded in text scripts. This
3553 offers ultimate flexibility, but requires you to learn PostScript.
3554 Currently, embedded PostScript will @strong{not} work with direct
3555 PostScript output. Note that all dimensions that you use are in staff
3560 \notes \relative c'' {
3561 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3562 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3563 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3567 \paper { linewidth = 70*\staffspace }
3574 @section Page layout
3577 The page layout is the combined product of LilyPond formatting notation,
3578 and (La)@TeX{} putting the notation on a page, including page breaks.
3579 The part of LilyPond is documented here.
3593 @subsection Paper block
3596 The most important output definition is the @code{\paper} block, for
3597 music notation. The syntax is
3600 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3603 where each of the items is one of
3606 @item An assignment.
3608 @item A context definition. See @ref{Interpretation context} for
3609 more information on context definitions.
3611 @item \stylesheet declaration. Its syntax is
3613 \stylesheet @var{alist}
3616 See @file{scm/font.scm} for details of @var{alist}.
3617 @item an @code{\elementdescriptions} declaration.
3619 \elementdescriptions @var{alist}
3621 See @file{scm/grob-description.scm} for details of
3622 @var{alist}. This command is not user-serviceable.
3626 @c . {Paper variables}
3627 @node Paper variables
3628 @subsection Paper variables
3629 @cindex Paper variables
3631 The paper block has some variables you may want to use or change:
3634 @cindex @code{indent}
3636 The indentation of the first line of music.
3637 @cindex @code{staffspace}
3639 @item @code{staffspace}
3640 The distance between two staff lines, calculated from the center
3643 @cindex @code{linewidth}
3644 @item @code{linewidth}
3645 Sets the width of the lines.
3647 If set to a negative value, a single unjustified line is produced.
3648 @c rename to singleLinePaper ?
3649 The shorthand @code{\singleLine} defines a default paper block that
3650 produces a single line.
3652 @cindex @code{textheight}
3654 @item @code{textheight}
3655 Sets the total height of the music on each page. Only used by
3658 @cindex @code{interscoreline}
3660 @item @code{interscoreline}
3661 Sets the spacing between systems. The default is 16pt.
3663 @cindex @code{interscorelinefill}
3665 @item @code{interscorelinefill}
3666 If set to a positive number, the distance between the score
3667 lines will stretch in order to fill the full page. In that
3668 case @code{interscoreline} specifies the minimum spacing.
3673 @cindex @code{stafflinethickness}
3675 @item @code{stafflinethickness}
3676 Determines the thickness of staff lines, and also acts as a scaling
3677 parameter for other line thicknesses.
3680 You may enter these dimension using units (@code{cm}, @code{in},
3681 @code{mm}, @code{pt}), or relative to another dimension
3683 linewidth = 20.0 * \staffspace
3690 @subsection Font size
3691 @cindex font size, setting
3692 @cindex staff size, setting
3693 @cindex @code{paper} file
3695 The Feta font provides musical symbols at six different sizes. These
3696 fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
3697 point. The point size of a font is the height of the five lines in a
3698 staff when displayed in the font.
3700 Definitions for these sizes are the files @file{paperSZ.ly}, where
3701 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3702 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3703 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3704 @code{paperTwentysix} are defined respectively. The default
3705 @code{\paper} block is also set. These files should be imported at toplevel, i.e.
3707 \include "paper26.ly"
3711 The font definitions are generated using a Scheme function. For more
3712 details, see the file @file{scm/font.scm}.
3718 @subsection Paper size
3723 @cindex @code{papersize}
3725 To change the paper size, you must first set the
3726 @code{papersize} paper variable variable. Set it to
3727 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3728 specification, you must set the font as described above. If you want
3729 the default font, then use the 20 point font.
3732 \paper@{ papersize = "a4" @}
3733 \include "paper16.ly"
3736 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3737 will set the paper variables @code{hsize} and @code{vsize} (used by
3738 Lilypond and @code{ly2dvi})
3742 @subsection Line break
3745 @cindex breaking lines
3747 Line breaks are normally computed automatically. They are chosen such
3748 that it looks neither cramped nor loose, and that consecutive lines have
3751 Occasionally you might want to override the automatic breaks; you can do
3752 this by specifying @code{\break}. This will force a line break at this
3753 point. Do remember that line breaks can only occur at places where there
3754 are bar lines. If you want to have a line break where there is no
3755 bar line, you can force an invisible bar line by entering @code{\bar
3756 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3758 If you want linebreaks at regular intervals, you can use the following:
3761 < \repeat 7 unfold @{ s1 * 4 \break @}
3765 This makes the following 28 measures (assuming 4/4 time) be broken every
3769 @cindex @code{\penalty}
3771 The @code{\break} and @code{\noBreak} commands are defined in terms of
3772 the penalty command:
3777 This encourages or discourages LilyPond to make a line break at this
3782 The scaling of the @code{\penalty} argument is not well-defined. The
3783 command is rather kludgey, and slated for rewriting.
3787 @subsection Page break
3790 @cindex breaking pages
3792 Page breaks are normally computed by @TeX{}, so they are not under
3793 direct control of LilyPond. However, you can insert a commands into the
3794 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3795 the command @code{\newpage}
3796 @cindex @code{\newpage}
3802 @c why do so difficult?
3803 @c maybe should explain contents of between-system.ly,
3804 @c but not now, we're talking about page breaks here.
3806 @c details, see the example file @file{input/test/between-systems.ly}
3809 @c . {Output scaling}
3810 @node Output scaling
3811 @subsection Output scaling
3826 There is no mechanism to select magnification of particular fonts,
3827 meaning that you don't have access to continuously scaled fonts.
3831 @c . {Output formats}
3832 @node Output formats
3833 @section Output formats
3835 LilyPond can output processed music in different output formats.
3839 * PostScript output::
3841 * ASCIIScript output::
3845 @subsection TeX output
3848 LilyPond will use @TeX{} by default. Even if you want to produce
3849 PostScript output for viewing or printing, you should normally have
3850 LilyPond produce @TeX{} first. The .tex output must be processed by
3851 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3852 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3853 used to generate the .dvi for you.
3857 Titling is not generated unless you use @file{ly2dvi}.
3860 @node PostScript output
3861 @subsection PostScript output
3862 @cindex PostScript output
3863 @cindex direct PostScript output
3865 LilyPond can produce PostScript directly, without going through @TeX{}.
3866 Currently, this is mainly useful if you cannot use TeX, because direct
3867 PostScript output has some problems; see Bugs below.
3870 $ lilypond -fps foo.ly
3871 GNU LilyPond 1.3.144
3872 Now processing: `foo.ly'
3874 Interpreting music...[3]
3875 Preprocessing elements...
3876 Calculating column positions...
3877 paper output to foo.ps...
3879 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3885 Text font selection is broken.
3887 The .ps file does not contain the .pfa font files. To print a .ps
3888 created through direct postscript output, you should prepend the
3889 necessary .pfa files to LilyPond's .ps output, or upload them to the
3890 printer before printing.
3892 The line height calculation is broken, you must set @var{lineheight} in
3893 the paperblock if you have more than one staff in your score, e.g.
3898 % Set line height to 40 staff spaces
3904 @subsection Scheme output
3905 @cindex Scheme output
3907 In the typesetting stage, LilyPond builds a page description, which is
3908 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3909 written, the page description is represented as Scheme expressions. You
3910 can also dump these Scheme expressions to a file, which may be
3911 convenient for debugging output routines. This is done with the Scheme
3915 $ lilypond -fscm foo.ly
3916 GNU LilyPond 1.3.144
3917 Now processing: `foo.ly'
3919 Interpreting music...[3]
3920 Preprocessing elements...
3921 Calculating column positions...
3922 paper output to foo.scm...
3925 ;;; Usage: guile -s x.scm > x.tex
3926 (primitive-load-path 'standalone.scm)
3930 $ guile -s foo.scm > foo.tex
3934 @node ASCIIScript output
3935 @subsection ASCIIScript output
3936 @cindex ASCIIScript output
3937 @cindex ascii script
3940 LilyPond can output ASCII Art. This is a two step process, LilyPond
3941 produces an ASCII description file, dubbed ASCIIScript (extension
3942 @file{.as}). ASCIIScript has a small and simple command set that
3943 includes font selection, character and string printing and line drawing
3944 commands. The program @file{as2text} is used to translate an .as file
3947 To produce ASCII Art, you must include an ASCII Art paper definition
3948 file in your .ly, one of:
3950 \include "paper-as5.ly"
3951 \include "paper-as9.ly"
3954 Here's an example use for ASCII Art output (the example file
3955 @file{as-email.ly} is included in the LilyPond distribution), the staff
3956 symbol has been made invisible:
3959 $ lilypond -fas as-email.ly
3960 GNU LilyPond 1.3.144
3961 Now processing: `as-email.ly'
3963 Interpreting music...[3]
3964 Preprocessing elements...
3965 Calculating column positions... [2]
3966 paper output to as-email.as...
3968 $ as2text as-email.as 2>/dev/null
3970 |/ |##|##| | | | | |
3971 /| | | | | |\ |\ |\ |\ |\ |
3972 / |_ 3 | | | | 5 | )| )| )| )| )|
3973 | /| \ 8 * * * | 8 * * * * * |
3983 The ASCII Art fonts are far from complete and not very well designed.
3984 It's easy to change the glyphs, though; if you think you can do better,
3985 have a look at @file{mf/*.af}.
3987 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3989 The poor looks of most ASCII Art output and its limited general
3990 usefulness gives ASCII Art output a low priority; it may be
3991 dropped in future versions.
3998 LilyPond can produce MIDI output. The performance lacks lots of
3999 interesting effects, such as swing, articulation, slurring, etc., but it
4000 is good enough for proof-hearing the music you have entered. Ties,
4001 dynamics and tempo changes are interpreted.
4003 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4004 levels. Dynamic marks translate to a fixed fraction of the available
4005 MIDI volume range, crescendi and decrescendi make the the volume vary
4006 linearly between their two extremities. The fractions be adjusted by
4007 overriding the @code{absolute-volume-alist} defined in
4008 @file{scm/midi.scm}.
4010 For each type of musical instrument (that MIDI supports), a volume range
4011 can be defined. This gives you basic equalizer control, which can
4012 enhance the quality of the MIDI output remarkably. You can add
4013 instruments and ranges or change the default settings by overriding the
4014 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4016 Both loudness controls are combined to produce the final MIDI volume.
4021 It is currently not possible to use the percussion channel (generally
4022 channel 10 of a MIDI file).
4026 * MIDI instrument names::
4031 @subsection MIDI block
4035 The MIDI block is analogous to the paper block, but it is somewhat
4036 simpler. The @code{\midi} block can contain:
4040 @item a @code{\tempo} definition
4041 @item context definitions
4044 Assignments in the @code{\midi} block are not allowed.
4048 @cindex context definition
4050 Context definitions follow precisely the same syntax as within the
4051 \paper block. Translation modules for sound are called performers.
4052 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4055 @node MIDI instrument names
4056 @subsection MIDI instrument names
4058 @cindex instrument names
4059 @cindex @code{Staff.midiInstrument}
4060 @cindex @code{Staff.instrument}
4062 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4063 property or, if that property is not set, the @code{Staff.instrument}
4064 property. The instrument name should be chosen from the list in
4065 @ref{MIDI instruments}.
4069 If the selected string does not exactly match, then LilyPond uses the
4070 default (Grand Piano). It is not possible to select an instrument by
4080 @c FIXME: Note entry vs Music entry at top level menu is confusing.
4083 @section Music entry
4091 When entering music with LilyPond, it is easy to introduce errors. This
4092 section deals with tricks and features that help you enter music, and
4093 find and correct mistakes.
4097 @subsection Relative
4099 @cindex relative octave specification
4101 Octaves are specified by adding @code{'} and @code{,} to pitch names.
4102 When you copy existing music, it is easy to accidentally put a pitch in
4103 the wrong octave and hard to find such an error. To prevent these
4104 errors, LilyPond features octave entry.
4106 @cindex @code{\relative}
4108 \relative @var{startpitch} @var{musicexpr}
4111 The octave of notes that appear in @var{musicexpr} are calculated as
4112 follows: If no octave changing marks are used, the basic interval
4113 between this and the last note is always taken to be a fourth or less
4114 (This distance is determined without regarding alterations; a
4115 @code{fisis} following a @code{ceses} will be put above the
4118 The octave changing marks @code{'} and @code{,} can be added to raise or
4119 lower the pitch by an extra octave. Upon entering relative mode, an
4120 absolute starting pitch must be specified that will act as the
4121 predecessor of the first note of @var{musicexpr}.
4123 Entering music that changes octave frequently is easy in relative mode.
4124 @lilypond[fragment,singleline,verbatim,center]
4130 And octave changing marks are used for intervals greater than a fourth.
4131 @lilypond[fragment,verbatim,center]
4133 c g c f, c' a, e'' }
4136 If the preceding item is a chord, the first note of the chord is used
4137 to determine the first note of the next chord. However, other notes
4138 within the second chord are determined by looking at the immediately
4141 @lilypond[fragment,verbatim,center]
4148 @cindex @code{\notes}
4150 The pitch after the @code{\relative} contains a note name. To parse
4151 the pitch as a note name, you have to be in note mode, so there must
4152 be a surrounding @code{\notes} keyword (which is not
4155 The relative conversion will not affect @code{\transpose},
4156 @code{\chords} or @code{\relative} sections in its argument. If you
4157 want to use relative within transposed music, you must place an
4158 additional @code{\relative} inside the @code{\transpose}.
4163 @subsection Bar check
4167 @cindex @code{barCheckNoSynchronize}
4171 Whenever a bar check is encountered during interpretation, a warning
4172 message is issued if it doesn't fall at a measure boundary. This can
4173 help you find errors in the input. Depending on the value of
4174 @code{barCheckNoSynchronize}, the beginning of the measure will be
4175 relocated, so this can also be used to shorten measures.
4177 A bar check is entered using the bar symbol, @code{|}:
4179 \time 3/4 c2 e4 | g2.
4184 @cindex skipTypesetting
4186 Failed bar checks are most often caused by entering incorrect
4187 durations. Incorrect durations often completely garble up the score,
4188 especially if it is polyphonic, so you should start correcting the score
4189 by scanning for failed bar checks and incorrect durations. To speed up
4190 this process, you can use @code{skipTypesetting} (See @ref{Skipping
4191 corrected music})). Bar
4194 @c . {Point and click}
4195 @node Point and click
4196 @subsection Point and click
4198 Point and click lets you find notes in the input by clicking on them in
4199 the Xdvi window. This makes it very easy to find input that causes some
4200 error in the sheet music.
4202 To use it, you need the following software
4204 @unnumberedsubsec Installation
4208 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
4209 Xdvi} version 22.36 or newer.
4211 Note that most @TeX{} distributions ship with xdvik, which is a
4212 different and less well maintained program. To find out which xdvi you
4213 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
4217 Xdvi must be configured to find the TeX fonts and music
4218 fonts. Refer to the Xdvi documentation for more information.
4221 @unnumberedsubsec Using it
4223 Add one of these lines to the top of your .ly file. The first one is for
4224 line location only. The second one is more convenient, but requires
4225 patching @code{emacsclient} and @code{server.el}.
4228 #(set! point-and-click line-location)
4231 In the emacs startup file (usually @file{~/.emacs}), add the following
4236 Make sure that the environment variable @code{XEDITOR} is set
4239 emacsclient --no-wait +%l %f
4241 The second one, that also specifies the column, only works if you have
4242 patched your emacsclient and server, and have compiled your @code{.ly}
4243 file using the @code{line-column-location} setting.
4245 When viewing, control-mousebutton 1 will take you to the originating
4246 spot in the @file{.ly} file. Control-mousebutton 2 will show all
4250 @unnumberedsubsec Column location
4252 If you want emacs to jump to the exact spot (and not just the line) on a
4253 click, you must enable column positioning. To do so, you need to patch
4254 emacsclient. Apply @file{emacsclient.patch} (included with the source
4255 package) to @file{emacsclient.c} and @file{server.el} from the emacs
4256 source code. Recompile and stick the recompiled emacsclient into a bin
4257 directory, and put @file{server.el} into a elisp directory
4258 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
4259 init file, before invoking server-start.
4262 (setq load-path (cons "~/usr/share/emacs" load-path))
4265 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
4267 At the top of the @code{ly} file, replace the @code{set!} line with the
4270 #(set! point-and-click line-column-location)
4273 One final hint: if you correct large files with point-and-click, then
4274 start correcting at the end of the file. When you start at the top, and
4275 insert one line, all subsequent locations will be off by a line.
4280 When you convert the @TeX{} file to PostScript using @code{dvips}, it
4281 will complain about not finding @code{src:X:Y} files. Those complaints
4282 are harmless, and can be ignored.
4284 @node Skipping corrected music
4285 @section Skipping corrected music
4287 The property @code{Score.skipTypesetting} can be used to switch on and
4288 off typesetting completely during the interpretation phase. When
4289 typesetting is switched off, the music is processed much more quickly.
4290 You can use this to skip over the parts of a score that you have already
4293 @lilypond[fragment,singleline,verbatim]
4294 \relative c'' { c8 d
4295 \property Score.skipTypesetting = ##t
4297 \property Score.skipTypesetting = ##f
4302 @node Interpretation context
4303 @section Interpretation context
4306 * Creating contexts::
4307 * Default contexts::
4308 * Context properties::
4309 * Engravers and performers::
4310 * Changing context definitions::
4311 * Defining new contexts::
4315 Interpretation contexts are objects that only exist during a run of
4316 LilyPond. During the interpretation phase of LilyPond (when it prints
4317 "interpreting music"), the music expression in a @code{\score} block is
4318 interpreted in time order. This is the same order that humans hear and
4321 During this interpretation, the interpretation context holds the
4322 state for the current point within the music. It contains information
4326 @item What notes are playing at this point?
4327 @item What symbols will be printed at this point?
4328 @item What is the current key signature, time signature, point within
4332 Contexts are grouped hierarchically: A @internalsref{Voice} context is
4333 contained in a @internalsref{Staff} context (because a staff can contain
4334 multiple voices at any point), a @internalsref{Staff} context is contained in
4335 @internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
4337 Contexts associated with sheet music output are called @emph{notation
4338 contexts}, those for sound output are called @emph{performance
4339 contexts}. The default definitions of the standard notation and
4340 performance contexts can be found in @file{ly/engraver-init.ly} and
4341 @file{ly/performer-init.ly}, respectively.
4343 @node Creating contexts
4344 @subsection Creating contexts
4346 @cindex @code{\context}
4347 @cindex context selection
4349 Contexts for a music expression can be selected manually, using the
4350 following music expression.
4353 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4356 This instructs lilypond to interpret @var{musicexpr} within the context
4357 of type @var{contexttype} and with name @var{contextname}. If this
4358 context does not exist, it will be created.
4360 @lilypond[verbatim,singleline]
4362 \notes \relative c'' {
4363 c4 <d4 \context Staff = "another" e4> f
4369 In this example, the @code{c} and @code{d} are printed on the
4370 default staff. For the @code{e}, a context Staff called
4371 @code{another} is specified; since that does not exist, a new
4372 context is created. Within @code{another}, a (default) Voice context
4373 is created for the @code{e4}. When all music referring to a
4374 context is finished, the context is ended as well. So after the
4375 third quarter, @code{another} is removed.
4379 @node Default contexts
4380 @subsection Default contexts
4382 Most music expressions don't need an explicit @code{\context}
4383 declaration: they inherit the
4384 notation context from their parent. Each note is a music expression, and
4385 as you can see in the following example, only the sequential music
4386 enclosing the three notes has an explicit context.
4388 @lilypond[verbatim,singleline]
4389 \score { \notes \context Voice = goUp { c'4 d' e' } }
4392 There are some quirks that you must keep in mind when dealing with
4395 First, every top level music is interpreted by the Score context, in other
4396 words, you may think of @code{\score} working like
4399 \context Score @var{music}
4403 Second, contexts are created automatically to be able to interpret the
4404 music expressions. Consider the following example.
4406 @lilypond[verbatim, singleline]
4407 \score { \context Score \notes { c'4 ( d' )e' } }
4410 The sequential music is interpreted by the Score context initially
4411 (notice that the @code{\context} specification is redundant), but when a
4412 note is encountered, contexts are setup to accept that note. In this
4413 case, a Thread, Voice and Staff are created. The rest of the sequential
4414 music is also interpreted with the same Thread, Voice and Staff context,
4415 putting the notes on the same staff, in the same voice.
4417 This is a convenient mechanism, but do not expect opening chords to work
4418 without @code{\context}. For every note, a separate staff is
4421 @cindex explicit context
4422 @cindex starting with chords
4423 @cindex chords, starting with
4425 @lilypond[verbatim, singleline]
4426 \score { \notes <c'4 es'> }
4429 Of course, if the chord is preceded by a normal note in sequential
4430 music, the chord will be interpreted by the Thread of the preceding
4432 @lilypond[verbatim,singleline]
4433 \score { \notes { c'4 <c'4 es'> } }
4438 @node Context properties
4439 @subsection Context properties
4441 Notation contexts have properties. These properties are from
4442 the @file{.ly} file using the following expression:
4443 @cindex @code{\property}
4445 \property @var{contextname}.@var{propname} = @var{value}
4448 Sets the @var{propname} property of the context @var{contextname} to the
4449 specified Scheme expression @var{value}. All @var{propname} and
4450 @var{contextname} are strings, which are typically unquoted.
4452 Properties that are set in one context are inherited by all of the
4453 contained contexts. This means that a property valid for the
4454 @internalsref{Voice} context can be set in the @internalsref{Score} context (for
4455 example) and thus take effect in all @internalsref{Voice} contexts.
4457 Properties can be unset using the following expression:
4459 \property @var{contextname}.@var{propname} \unset
4462 @cindex properties, unsetting
4463 @cindex @code{\unset}
4465 This removes the definition of @var{propname} in @var{contextname}. If
4466 @var{propname} was not defined in @var{contextname} (but was inherited
4467 from a higher context), then this has no effect.
4472 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4473 the inverse of @code{\property \set}.
4475 @node Engravers and performers
4476 @subsection Engravers and performers
4480 Basic building blocks of translation are called engravers; they are
4481 special C++ classes.
4485 @c . {Context definitions}
4486 @node Changing context definitions
4487 @subsection Changing context definitions
4489 @cindex context definition
4490 @cindex translator definition
4492 The most common way to define a context is by extending an existing
4493 context. You can change an existing context from the paper block, by
4494 first initializing a translator with an existing context identifier:
4498 @var{context-identifier}
4501 Then you can add and remove engravers using the following syntax:
4503 \remove @var{engravername}
4504 \consists @var{engravername}
4508 Here @var{engravername} is a string, the name of an engraver in the
4512 @lilypond[verbatim,singleline]
4516 \translator { \StaffContext
4517 \remove Clef_engraver
4523 You can also set properties in a translator definition. The syntax is as
4526 @var{propname} = @var{value}
4527 @var{propname} \set @var{grob-propname} = @var{pvalue}
4528 @var{propname} \override @var{grob-propname} = @var{pvalue}
4529 @var{propname} \revert @var{grob-propname}
4531 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4532 and @code{pvalue} are Scheme expressions. These type of property
4533 assignments happen before interpretation starts, so a @code{\property}
4534 command will override any predefined settings.
4537 To simplify editing translators, all standard contexts have standard
4538 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4539 @code{VoiceContext}, see @file{ly/engraver-init.ly}.
4541 @node Defining new contexts
4542 @subsection Defining new contexts
4544 If you want to build a context from scratch, you must also supply the
4545 following extra information:
4547 @item A name, specified by @code{\name @var{contextname}}.
4549 @item A cooperation module. This is specified by @code{\type
4556 \type "Engraver_group_engraver"
4559 \consists "Staff_symbol_engraver"
4560 \consists "Note_head_engraver"
4561 \consistsend "Axis_group_engraver"
4565 The argument of @code{\type} is the name for a special engraver that
4566 handles cooperation between simple engravers such as
4567 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4568 for this engraver are the following:
4570 @cindex @code{Engraver_group_engraver}
4571 @item @code{Engraver_group_engraver}
4572 The standard cooperation engraver.
4574 @cindex @code{Score_engraver}
4576 @item @code{Score_engraver}
4577 This is cooperation module that should be in the top level context,
4578 and only the top level context.
4580 @cindex @code{Grace_engraver_group}
4582 @item @code{Grace_engraver_group}
4583 This is a special cooperation module (resembling
4584 @code{Score_engraver}) that is used to create an embedded
4591 @item @code{\alias} @var{alternate-name}
4592 This specifies a different name. In the above example,
4593 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4595 @item @code{\consistsend} @var{engravername}
4596 Analogous to @code{\consists}, but makes sure that
4597 @var{engravername} is always added to the end of the list of
4600 Some engraver types need to be at the end of the list; this
4601 insures they stay there even if a user adds or removes engravers.
4602 End-users generally don't need this command.
4604 @item @code{\accepts} @var{contextname}
4605 Add @var{contextname} to the list of contexts this context can
4606 contain in the context hierarchy. The first listed context is the
4607 context to create by default.
4609 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4610 completeness, but is never used in practice.
4613 @item @code{\name} @var{contextname}
4614 This sets the type name of the context, e.g. @internalsref{Staff},
4615 @internalsref{Voice}. If the name is not specified, the translator won't do
4619 In the @code{\paper} block, it is also possible to define translator
4620 identifiers. Like other block identifiers, the identifier can only
4621 be used as the very first item of a translator. In order to define
4622 such an identifier outside of @code{\score}, you must do
4627 foo = \translator @{ @dots{} @}
4634 \translator @{ \foo @dots{} @}
4642 @cindex paper types, engravers, and pre-defined translators
4649 @c . {Syntactic details}
4650 @node Syntactic details
4651 @section Syntactic details
4652 @cindex Syntactic details
4654 This section describes details that were too boring to be put elsewhere.
4659 * Music expressions::
4660 * Manipulating music expressions::
4668 @subsection Top level
4671 This section describes what you may enter at top level.
4675 @subsubsection Score
4678 @cindex score definition
4680 The output is generated combining a music expression with an output
4681 definition. A score block has the following syntax:
4684 \score @{ @var{musicexpr} @var{outputdefs} @}
4687 @var{outputdefs} are zero or more output definitions. If none is
4688 supplied, the default @code{\paper} block will be added.
4692 @c . {Default output}
4693 @subsubsection Default output
4695 Default values for the @code{\paper} and @code{\midi} block are set by
4696 entering such a block at the top level.
4699 @subsubsection Header
4701 @cindex @code{\header}
4704 A header describes bibliographic information of the file's contents. It
4705 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4706 use this information for generating titles. Key values that are used by
4707 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4708 meter, arranger, piece and tagline.
4710 @cindex @code{ly2dvi}
4714 \header @{ @var{key1} = @var{val1}
4715 @var{key2} = @var{val2} @dots{} @}
4718 It is customary to put the @code{\header} at the top of the file.
4720 @subsubsection Default output
4722 A @code{\midi} or @code{\paper} block at top level sets the default
4723 paper block for all scores that lack an explicit paper block.
4727 @subsection Identifiers
4731 What has this section got to do with identifiers?
4732 It seems more appropriate in the introduction to Chapter 4,
4738 All of the information in a LilyPond input file, is internally
4739 represented as a Scheme value. In addition to normal Scheme data types
4740 (such as pair, number, boolean, etc.), LilyPond has a number of
4741 specialized data types,
4748 @item Translator_def
4752 @item Music_output_def
4753 @item Moment (rational number)
4756 LilyPond also includes some transient object types. Objects of these
4757 types are built during a LilyPond run, and do not `exist' per se within
4758 your input file. These objects are created as a result of your input
4759 file, so you can include commands in the input to manipulate them,
4760 during a lilypond run.
4763 @item Grob: short for Graphical object. See @ref{Grobs}.
4764 @item Molecule: device-independent page output object,
4765 including dimensions. Produced by some Grob functions
4767 @item Translator: object that produces audio objects or Grobs. This is
4768 not yet user accessible.
4769 @item Font_metric: object representing a font.
4773 @node Music expressions
4774 @subsection Music expressions
4776 @cindex music expressions
4778 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4779 syllables are music expressions, and you can combine music expressions
4780 to form new ones, for example by enclosing a list of expressions in
4781 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4782 compound expression is formed out of the quarter note @code{c} and a
4783 quarter note @code{d}:
4786 \sequential @{ c4 d4 @}
4789 @cindex Sequential music
4790 @cindex @code{\sequential}
4791 @cindex sequential music
4794 @cindex Simultaneous music
4795 @cindex @code{\simultaneous}
4797 The two basic compound music expressions are simultaneous and
4801 \sequential @code{@{} @var{musicexprlist} @code{@}}
4802 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4804 For both, there is a shorthand:
4806 @code{@{} @var{musicexprlist} @code{@}}
4810 @code{<} @var{musicexprlist} @code{>}
4812 for simultaneous music.
4813 In principle, the way in which you nest sequential and simultaneous to
4814 produce music is not relevant. In the following example, three chords
4815 are expressed in two different ways:
4817 @lilypond[fragment,verbatim,center]
4818 \notes \context Voice {
4819 <a c'> <b d' > <c' e'>
4820 < { a b c' } { c' d' e' } >
4825 Other compound music expressions include
4828 \transpose @var{pitch} @var{expr}
4829 \apply @var{func} @var{expr}
4830 \context @var{type} = @var{id} @var{expr}
4831 \times @var{fraction} @var{expr}
4835 @c . {Manipulating music expressions}
4836 @node Manipulating music expressions
4837 @subsection Manipulating music expressions
4839 The @code{\apply} mechanism gives you access to the internal
4840 representation of music. You can write Scheme-functions that operate
4841 directly on it. The syntax is
4843 \apply #@var{func} @var{music}
4845 This means that @var{func} is applied to @var{music}. The function
4846 @var{func} should return a music expression.
4848 This example replaces the text string of a script. It also shows a dump
4849 of the music it processes, which is useful if you want to know more
4850 about how music is stored.
4852 @lilypond[verbatim,singleline]
4853 #(define (testfunc x)
4854 (if (equal? (ly-get-mus-property x 'text) "foo")
4855 (ly-set-mus-property x 'text "bar"))
4857 (ly-set-mus-property x 'elements
4858 (map testfunc (ly-get-mus-property x 'elements)))
4863 \apply #testfunc { c'4_"foo" }
4867 For more information on what is possible, see the automatically
4868 generated documentation.
4871 Directly accessing internal representations is dangerous: the
4872 implementation is subject to changes, so you should avoid this feature
4875 A final example is a function that reverses a piece of music in time:
4877 @lilypond[verbatim,singleline]
4878 #(define (reverse-music music)
4879 (let* ((elements (ly-get-mus-property music 'elements))
4880 (reversed (reverse elements))
4881 (span-dir (ly-get-mus-property music 'span-direction)))
4882 (ly-set-mus-property music 'elements reversed)
4884 (ly-set-mus-property music 'span-direction (- span-dir)))
4885 (map reverse-music reversed)
4888 music = \notes { c'4 d'4( e'4 f'4 }
4890 \score { \context Voice {
4892 \apply #reverse-music \music
4897 More examples are given in the distributed example files in
4900 @c . {Span requests}
4906 @subsubsection Span requests
4907 @cindex Span requests
4909 Notational constructs that start and end on different notes can be
4910 entered using span requests. The syntax is as follows:
4914 \spanrequest @var{startstop} @var{type}
4918 @cindex @code{\start}
4919 @cindex @code{\stop}
4921 This defines a spanning request. The @var{startstop} parameter is either
4922 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4923 describes what should be started. Much of the syntactic sugar is a
4924 shorthand for @code{\spanrequest}, for example,
4926 @lilypond[fragment,verbatim,center]
4927 c'4-\spanrequest \start "slur"
4928 c'4-\spanrequest \stop "slur"
4931 Among the supported types are @code{crescendo}, @code{decrescendo},
4932 @code{beam}, @code{slur}. This is an internal command. Users are
4933 encouraged to use the shorthands which are defined in the initialization
4934 file @file{spanners.ly}.
4939 @subsection Assignments
4942 Identifiers allow objects to be assigned to names during the parse
4943 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4944 and to refer to an identifier, you precede its name with a backslash:
4945 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4946 the input-types listed above. Identifier assignments can appear at top
4947 level in the LilyPond file, but also in @code{\paper} blocks.
4949 An identifier can be created with any string for its name, but you will
4950 only be able to refer to identifiers whose names begin with a letter,
4951 being entirely alphabetical. It is impossible to refer to an identifier
4952 whose name is the same as the name of a keyword.
4954 The right hand side of an identifier assignment is parsed completely
4955 before the assignment is done, so it is allowed to redefine an
4956 identifier in terms of its old value, e.g.
4962 When an identifier is referenced, the information it points to is
4963 copied. For this reason, an identifier reference must always be the
4964 first item in a block.
4968 \paperIdent % wrong and invalid
4972 \paperIdent % correct
4977 @c . {Lexical modes}
4979 @subsection Lexical modes
4980 @cindex Lexical modes
4983 @cindex @code{\notes}
4984 @cindex @code{\chords}
4985 @cindex @code{\lyrics}
4987 To simplify entering notes, lyrics, and chords, LilyPond has three
4988 special input modes in addition to the default mode: note, lyrics and
4989 chords mode. These input modes change the way that normal, unquoted
4990 words are interpreted: for example, the word @code{cis} may be
4991 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4992 major triad respectively.
4994 A mode switch is entered as a compound music expression
4996 @code{\notes} @var{musicexpr}
4997 @code{\chords} @var{musicexpr}
4998 @code{\lyrics} @var{musicexpr}.
5001 In each of these cases, these expressions do not add anything to the
5002 meaning of their arguments. They just instruct the parser in what mode
5003 to parse their arguments. The modes are treated in more detail in
5004 @ref{Lyrics} and @ref{Chords}.
5006 Different input modes may be nested.
5010 @subsection Ambiguities
5015 The grammar contains a number of ambiguities. We hope to resolve them at
5019 @item The assignment
5024 is interpreted as the string identifier assignment. However,
5025 it can also be interpreted as making a string identifier @code{\foo}
5026 containing @code{"bar"}, or a music identifier @code{\foo}
5027 containing the syllable `bar'.
5029 @item If you do a nested repeat like
5041 then it is ambiguous to which @code{\repeat} the
5042 @code{\alternative} belongs. This is the classic if-then-else
5043 dilemma. It may be solved by using braces.
5045 @item The parser is not sophisticated enough to distinguish at the
5047 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
5054 @c . {Lexical details}
5055 @node Lexical details
5056 @section Lexical details
5058 Even more boring details, now on lexical side of the input parser.
5069 * Version information::
5074 @subsection Comments
5077 @cindex block comment
5078 @cindex line comment
5082 A one line comment is introduced by a @code{%} character.
5083 Block comments are started by @code{%@{} and ended by @code{%@}}.
5084 They cannot be nested.
5087 @subsection Direct Scheme
5091 @cindex Scheme, in-line code
5094 LilyPond contains a Scheme interpreter (the GUILE library) for
5095 internal use. In some places, Scheme expressions also form valid syntax:
5096 wherever it is allowed,
5100 evaluates the specified Scheme code. Example:
5102 \property Staff.TestObject \override #'foobar = #(+ 1 2)
5104 @code{\override} expects two Scheme expressions, so there are two Scheme
5105 expressions. The first one is a symbol (@code{foobar}), the second one
5106 an integer (namely, 3).
5108 In-line scheme may be used at the top level. In this case the result is
5111 Scheme is a full-blown programming language, and a full discussion is
5112 outside the scope of this document. Interested readers are referred to
5113 the website @uref{http://www.schemers.org/} for more information on
5118 @subsection Keywords
5122 Keywords start with a backslash, followed by a number of lower case
5123 alphabetic characters. These are all the keywords.
5126 apply arpeggio autochange spanrequest commandspanrequest
5127 simultaneous sequential accepts alternative bar breathe
5128 char chordmodifiers chords clef cm consists consistsend
5129 context denies duration dynamicscript elementdescriptions
5130 font grace header in lyrics key mark pitch
5131 time times midi mm name pitchnames notes outputproperty
5132 override set revert partial paper penalty property pt
5133 relative remove repeat addlyrics partcombine score
5134 script stylesheet skip textscript tempo translator
5139 @subsection Integers
5147 Formed from an optional minus sign followed by digits. Arithmetic
5148 operations cannot be done with integers, and integers cannot be mixed
5153 @cindex real numbers
5159 Formed from an optional minus sign and a sequence of digits followed
5160 by a @emph{required} decimal point and an optional exponent such as
5161 @code{-1.2e3}. Reals can be built up using the usual operations:
5162 `@code{+}', `@code{-}', `@code{*}', and
5163 `@code{/}', with parentheses for grouping.
5171 A real constant can be followed by one of the dimension keywords:
5172 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
5173 points, inches and centimeters, respectively. This converts the number
5174 a number that is the internal representation of that dimension.
5182 Begins and ends with the @code{"} character. To include a @code{"}
5183 character in a string write @code{\"}. Various other backslash
5184 sequences have special interpretations as in the C language. A string
5185 that contains no spaces can be written without the quotes. Strings can
5186 be concatenated with the @code{+} operator.
5190 @subsection Main input
5193 @cindex @code{\maininput}
5195 The @code{\maininput} command is used in init files to signal that the
5196 user file must be read. This command cannot be used in a user file.
5198 @node File inclusion
5199 @subsection File inclusion
5200 @cindex @code{\include}
5202 \include @var{filename}
5205 Include @var{filename}. The argument @var{filename} may be a quoted string (an
5206 unquoted string will not work here!) or a string identifier. The full
5207 filename including the @file{.ly} extension must be given,
5210 @node Version information
5211 @subsection Version information
5212 @cindex @code{\version}
5214 \version @var{string}
5217 Specify the version of LilyPond that a file was written for. The
5218 argument is a version string in quotes, for example @code{"1.2.0"}.
5219 This is used to detect invalid input, and to aid
5220 @code{convert-ly} a tool that automatically upgrades input files. See
5221 See @ref{convert-ly} for more information on @code{convert-ly}.
5229 @c broken with emacs-21
5230 @c {Local emac s vars}
5231 @c Local varia bles:
5233 @c minor-mod e: font-lock
5234 @c minor-mo de: outline
5235 @c outline -layout: (-1 : 0)
5236 @c outlin e-use-mode-specific-leader: "@c \."
5237 @c outli ne-primary-bullet: "{"
5238 @c outli ne-stylish-prefixes: nil
5239 @c outli ne-override-protect: t