3 @node Reference Manual, , , Top
6 * Top level:: Top level
7 * notenames:: notenames
8 * Lexical conventions:: Lexical conventions
9 * Other languages:: notelang
12 * Music expressions:: Music expressions
13 * Atomic music expressions:: Atomic music expressions
14 * Note specification:: notedesc
16 * Manual beams:: Manual beam
18 * Compound music expressions:: Compound music expressions
21 * transpose:: transpose
22 * Ambiguities:: Ambiguities
23 * Notation conversion specifics:: Notation conversion specifics
25 * lyricprint:: lyricprint
26 * Notation Contexts:: Notation Contexts
27 * Properties:: Changing formatting
28 * Notation output definitions:: Notation output definitions
30 * Paper variables:: papervars
31 * contextdefs:: contextdefs
32 * engravers:: engravers
33 * Sound output:: Sound output
35 * Pre-defined Identifiers:: Pre-defined Identifiers
38 @chapter Reference Manual
42 @node Overview, , , Reference Manual
45 This document@footnote{This document has been revised for
46 LilyPond 1.2.} describes the the GNU LilyPond input format, which is
47 a language for defining music. We call this language @emph{Music
48 Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
49 comes up with a better name, we'd gladly take this. Gourlay already
50 uses a ``Musical Description Language,'' ISO standard 10743 defines a
51 ``Standard Music Description Language.'' We're not being original
54 @emph{Mudela} is a language that allows you to
57 @item create musical expressions by combining pitches, durations
58 @item output those musical expressions to various formats
59 @item give those musical expressions and output definitions names, so
60 you can enter them in manageable chunks.
63 @emph{Mudela} aims to define a piece of music completely, both from
64 typesetting and from a performance point of view.
68 @node Top level, , , Reference Manual
73 This section describes what you may enter at top level.
77 @cindex score definition
79 The output is generated combining a music expression with an output
80 definition. A score block has the following syntax:
83 \score @{ @var{musicexpr} @var{outputdefs} @}
86 @var{outputdefs} are zero or more output definitions. If no output
87 definition is supplied, the default @code{\paper} block will be added.
98 \header @{ @var{key1} = @var{val1};
99 @var{key2} = @var{val2}; @dots{} @}
102 A header describes the file's contents. It can also appear in a
103 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
104 information for generating titles. Key values that are used by
105 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
106 metre, arranger, piece and tagline.
108 It is customary to put the @code{\header} at the top of the file.
111 @node notenames, , , Reference Manual
113 Note name tables can be specified using
116 \notenames@keyindex{notenames}
117 @{ @var{assignmentlist} @}
120 @var{assignmentlist} is a list of definitions of the form
123 @var{name} = @var{pitch}
126 Chord modifiers can be set analogously, with
127 @code{\chordmodifiers}@keyindex{chordmodifiers}.
129 A @code{\paper} block at top level sets the default paper block. A
130 @code{\midi} block at top level works similarly.
134 LilyPond contains a Scheme interpreter (the GUILE library) for
135 internal use. The following commands access the interpreter
139 \scm @keyindex{scm} @var{scheme} ;
142 Evaluates the specified Scheme code. The result is discarded.
145 \scmfile@keyindex{scmfile} @var{filename};
148 Reads Scheme code from the specified file. The result is discarded.
152 Identifier assignments may appear at top level. Semicolons are
153 forbidden after top level assignments.
157 @node Lexical conventions, , , Reference Manual
158 @section Lexical conventions
160 @cindex lexical conventions
169 A one line comment is introduced by a `@code{%}' character.
170 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
171 They cannot be nested.
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
239 Formed from an optional minus sign followed by digits. Arithmetic
240 operations cannot be done with integers, and integers cannot be mixed
248 Formed from an optional minus sign and a sequence of digits followed
249 by a @emph{required} decimal point and an optional exponent such as
250 @code{-1.2e3}. Reals can be built up using the usual operations:
251 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
252 `@code{/}@indexcode{/}', with parentheses for grouping.
254 A real constant can be followed by one of the dimension
257 @code{\mm}@keyindex{mm},
258 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
259 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
260 centimeters, respectively. This converts the number to a real that
261 is the internal representation of dimensions.
268 Begins and ends with the `@code{"}' character. To include a `@code{"}'
269 character in a string write `@code{\"}'. Various other backslash
270 sequences have special interpretations as in the C language. A
271 string that contains no spaces can be written without the quotes.
272 See section XREF-modes [FIXME] for details on unquoted strings; their
273 interpretation varies depending on the situation. Strings can be
274 concatenated with the `@code{+}' operator.
277 The tokenizer accepts the following commands. They can appear
281 \maininput@keyindex{maininput}
284 This command is used in init files to signal that the user file must
285 be read. This command cannot be used in a user file.
288 \include@keyindex{include} @var{file}
291 Include @var{file}. The argument @var{file} may be a quoted string (an
292 unquoted string will not work here!) or a string identifier. The full
293 filename including the @file{.ly} extension must be given,
296 \version@keyindex{version} @var{string} ;
299 Specify the version of LilyPond that a file was written for. The
300 argument is a version string in quotes, for example @code{"1.2.0"}.
301 This is used to detect invalid input, and to aid
302 @code{convert-mudela}, a tool that automatically upgrades input files.
306 @cindex other languages
308 @node Other languages, , , Reference Manual
310 Note name definitions have been provided in various languages.
311 Simply include the language specific init file. For example:
312 `@code{\include "english.ly"}'. The available language files and the
313 names they define are:
318 Note Names sharp flat
319 nederlands.ly c d e f g a bes b -is -es
320 english.ly c d e f g a bf b -s/-sharp -f/-flat
321 deutsch.ly c d e f g a b h -is -es
322 norsk.ly c d e f g a b h -iss/-is -ess/-es
323 svenska.ly c d e f g a b h -iss -ess
324 italiano.ly do re mi fa sol la sid si -d -b
325 catalan.ly do re mi fa sol la sid si -d/-s -b
330 Pitch names can be redefined using the
331 @code{\notenames}@keyindex{notenames} command, see
332 subsection XREF-notenames [FIXME].
336 @cindex lexical modes
340 @node modes, , , Reference Manual
342 To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
343 special input modes on top of the default mode. In each mode, words
344 are identified on the input. If @code{"word"} is encountered, it is
345 treated as a string. If @code{\word} is encountered, it is treated as
346 a keyword or as an identifier. The behavior of the modes differs in
347 two ways: Different modes treat unquoted words differently, and
348 different modes have different rules for deciding what is a word.
354 At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
355 mode, a word is an alphabetic character followed by alphanumeric
356 characters. If @code{word} is encountered on the input it is
362 Note mode is introduced by the keyword
363 @code{\notes}@keyindex{notes}. In Note mode, words can only
364 contain alphabetic characters. If @code{word} is encountered,
365 LilyPond first checks for a notename of @code{word}. If no
366 notename is found, then @code{word} is treated as a string.
368 Since combinations of numbers and dots are used for indicating
369 durations, it is not possible to enter real numbers in this mode.
374 Chord mode is introduced by the keyword
375 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
376 words are also looked up in a chord modifier table (containing
377 @code{maj}, @code{dim}, etc).
379 Since combinations of numbers and dots are used for indicating
380 durations, you can not enter real numbers in this mode. Dashes
381 and carets are used to indicate chord additions and subtractions,
382 so scripts can not be entered in Chord mode.
387 Lyrics mode is introduced by the keyword
388 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
389 easy to include punctuation and diacritical marks in words. A
390 word in Lyrics mode begins with: an alphabetic character,
391 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
392 control characters @code{^A} through @code{^F}, @code{^Q} through
393 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
394 over 127, or a two-character combination of a backslash followed
395 by one of `@code{`}', `@code{'}', `@code{"}', or
396 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
397 enter lyrics in TeX format or a standard encoding without
398 needing quotes. The precise definition of this mode indeed is
399 ludicrous. This will remain so until the authors of LilyPond
400 acquire a deeper understanding of character encoding, or someone
401 else steps up to fix this.}
403 Subsequent characters of a word can be any character that is not
404 a digit and not white space. One important consequence of this
405 is that a word can end with `@code{@}}', which may be confusing if
406 you thought the closing brace was going to terminate Lyrics
407 mode.@footnote{LilyPond will issue a warning, though.} Any
408 `@code{_}' characters which appear in an unquoted word are
409 converted to spaces. This provides a mechanism for introducing
410 spaces into words without using quotes. Quoted words can also be
411 used in Lyrics mode to specify words that cannot be written with
412 the above rules. Here are some examples. Not all of these words
413 are printable by TeX.
420 2B_||_!2B % not a word because it starts with a digit
421 ``Hello'' % not a word because it starts with `
422 _ _ _ _ % 4 words, each one a space
427 Since combinations of numbers and dots are used for indicating
428 durations, you can not enter real numbers in this mode.
431 It is possible to create words that break the rules by prefixing them
432 with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
433 word beginning with `@code{$}' extends until the next white space
434 character. Such words can contain numbers (even in Note mode), or
435 other forbidden characters. The dollar sign can be used to create
436 and access identifiers that could not otherwise be used.@footnote{Use
437 of `@code{$}' hampers readability and portability to future LilyPond
438 versions, thus the use of the dollar sign is discouraged.}
442 @node Types, , , Reference Manual
445 @cindex types and identifiers
447 @emph{Mudela} has a limited set of types:
453 @item music expressions
454 @item durations of notes and rests (specified with
455 @code{\notenames}@keyindex{notenames})
456 @item note name tables
457 @item context definitions, part of output definitions. See
458 section XREF-contextdefs [FIXME] for more information
459 @item output definitions (like @code{\paper}@keyindex{paper} blocks
460 and @code{\midi}@keyindex{midi} blocks)
461 @item score definitions (@code{\score}@keyindex{score} blocks)
464 Type is a syntactical property: @emph{Mudela} has no real type system,
465 so there is no support for generic expressions, functions, or user
466 defined types. For the same reason, it is not possible to mix reals
467 and integers in arithmetic expressions, and ``type
470 (e.g., using a string identifier to
471 initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
474 Identifiers allow objects to be assigned to names. To assign an
475 identifier, you use `@var{name}=@var{value}' and to refer to an
476 identifier, you preceed its name with a backslash:
477 `@code{\}@var{name}'. Identifier assignments must appear at top level
478 in the @emph{Mudela} file. Semicolons are forbidden after assignments
479 appearing at top level but they are obligatory after assignments
480 appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
482 @var{value} is any of the types listed above.
484 An identifier can be created with any string for its name, but you
485 will only be able to refer to identifiers whose names begin with a
486 letter, being entirely alphanumeric. It is impossible to refer to an
487 identifier whose name is the same as the name of a keyword.
489 The right hand side of an identifier assignment is parsed completely
490 before the assignment is done, so it is allowed to redefine an
491 identifier in terms of its old value, e.g.
497 When an identifier is referenced, the information it points to is
498 copied. Therefore it only makes sense to put identifiers for
499 translators, output definitions, and @code{\score}@keyindex{score}
500 blocks as the first item in a block. For this reason, if you
501 reference a @code{\foo} variable in a @code{\foo} block, it must be the
502 first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
503 \two@}} does not make sense, because the information of @code{\two}
504 would overwrite the information of @code{\one}, thereby making the
505 reference to the first identifier useless.}
509 @node Music expressions, , , Reference Manual
510 @section Music expressions
512 @cindex music expressions
514 Music in @emph{Mudela} is entered as a music expression. Notes, rests,
515 lyric syllables are music expressions (the atomic
517 @cindex atomic music expressions
518 , and you can combine
519 music expressions to form new ones. This example forms a compound
520 expressions out of the quarter @code{c} note and a @code{d}
524 \sequential @{ c4 d4 @}
527 The meaning of this compound expression is to play the `@code{c}'
528 first, and then the `@code{d}' (as opposed to playing them
529 simultaneously, for instance).
531 Atomic music expression are discussed in
532 subsection XREF-atomicmusic [FIXME]. Compound music expressions are
533 discussed in subsection XREF-compoundmusic [FIXME].
537 @node Atomic music expressions, , , Reference Manual
538 @section Atomic music expressions
548 The syntax for pitch specification is
552 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
555 @var{octave} is specified by an integer, zero for the octave
556 containing middle C. @var{note} is a number from 0 to 7, with 0
557 corresponding to C and 7 corresponding to B. The shift is zero for a
558 natural, negative to add flats, or positive to add sharps.
560 In Note and Chord mode, pitches may be designated by names. See
561 section XREF-notelang [FIXME] for pitch names in different languages.
563 The syntax for duration specification is
566 \duration@keyindex{duration}
567 @{ @var{length} @var{dotcount} @}
570 @var{length} is the negative logarithm (base 2) of the duration:
571 1 is a half note, 2 is a quarter note, 3 is an eighth
572 note, etc. The number of dots after the note is given by
575 In Note, Chord, and Lyrics mode, durations may be designated by
576 numbers and dots. See Section XREF-notelang [FIXME] for details.
579 @node Note specification, , , Reference Manual
581 @cindex note specification
585 @cindex entering notes
587 A note specification has the form
590 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
593 The pitch of the note is specified by the note's name.
596 The default names are the Dutch note names. The notes are specified
597 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
598 octave below middle C and the letters span the octave above that C.
599 In Dutchcindex(notenames!Dutch), a sharp is formed by adding
600 `@code{-is}' to the end of a pitch name. A flat is formed by adding
601 `@code{-es}'. Double sharps and double flats are obtained by adding
602 `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
603 contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
606 LilyPond has predefined sets of notenames for various languages. See
607 section XREF-notelang [FIXME] for details.
610 The optional octave specification takes the form of a series of
611 single quote (`@code{'}@indexcode{'}') characters or a series of comma
612 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
613 octave; each @code{,} lowers the pitch by an octave.
615 @mudela[fragment,verbatim,center]
616 c' d' e' f' g' a' b' c''
619 @mudela[fragment,verbatim,center]
620 cis' dis' eis' fis' gis' ais' bis'
623 @mudela[fragment,verbatim,center]
624 ces' des' es' fes' ges' as' bes'
627 @mudela[fragment,verbatim,center]
628 cisis' eisis' gisis' aisis' beses'
631 @mudela[fragment,verbatim,center]
632 ceses' eses' geses' ases' beses'
635 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
636 will determine what accidentals to typeset depending on the key and
637 context. A reminder accidental
638 @cindex reminder accidental
640 forced by adding an exclamation mark `@code{!}' after the pitch. A
641 cautionary accidental,
642 @cindex cautionary accidental
644 accidental within parentheses can be obtained by adding the question
645 mark `@code{?}@indexcode{?}' after the pitch.
647 @mudela[fragment,verbatim,center]
648 cis' d' e' cis' c'? d' e' c'!
654 Durations are entered as their reciprocal values. For notes longer
655 than a whole note, use identifiers.
661 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
670 \notes \relative c'' {
672 a1 a2 a4 a8 a16 a32 a64 a64
677 \remove "Clef_engraver";
678 \remove "Staff_symbol_engraver";
689 r1 r2 r4 r8 r16 r32 r64 r64
698 \notes \relative c'' {
700 r1 r2 r4 r8 r16 r32 r64 r64
703 loose_column_distance = 2.5 * \interline;
706 \type "Score_engraver";
708 \consists "Rest_engraver";
709 \consists "Stem_engraver";
710 \consists "Rhythmic_column_engraver";
717 If the duration is omitted then it is set equal to the previous
718 duration. If there is no previous duration, a quarter note is
719 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
720 to obtain dotted note lengths.
722 @mudela[fragment,verbatim,center]
726 You can alter the length of duration by writing
727 `@code{*}@var{fraction}' after it. This will not affect the
728 appearance of note heads or rests.
731 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
732 or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
733 which produces a space of the specified duration.
734 `@code{R}' is specifically meant for entering parts: the @code{R} rest
735 can expand to fill a score with rests, or it can be printed as a
736 single multimeasure rest.
739 @cindex lyrics expressions
741 Syllables are entered like notes, with pitches replaced by text. For
742 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
743 with quarter note duration. Note that the hyphen has no special
744 meaning for lyrics, and does not introduce special symbols. See
745 section XREF-modes [FIXME] for a description of what is interpreted as
748 Spaces can be introduced into a lyric either by using quotes
749 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
750 not4}'. All unquoted underscores are converted to spaces. Printing
751 lyrics is discussed in section XREF-lyricprint [FIXME].
758 \property@keyindex{property}
759 @var{contextname}.@var{propname} = @var{value}
762 Sets the @var{propname} property of the context @var{contextname} to
763 the specified @var{value}. All three arguments are strings.
764 Depending on the context, it may be necessary to quote the strings or
765 to leave space on both sides of the dot.
769 @cindex translator switches
772 \translator@keyindex{translator}
773 @var{contexttype} = @var{name}
776 A music expression indicating that the context which is a direct
777 child of the a context of type @var{contexttype} should be shifted to
778 a context of type @var{contexttype} and the specified name.
780 Usually this is used to switch staffs in Piano music, e.g.
783 \translator Staff = top @var{Music}
790 Commands are music expressions that have no duration.
795 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
798 Change the key signature. @var{type} should be
799 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
800 @var{pitch}-major or @var{pitch}-minor, respectively. The second
801 argument is optional; the default is major keys. The @var{\context}
802 argument can also be given as an integer, which tells the number of
803 semitones that should be added to the pitch given in the subsequent
804 @code{\key}@keyindex{key} commands to get the corresponding major key,
805 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
806 mode names @code{\ionian}@keyindex{ionian},
807 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
808 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
809 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
814 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
817 Specify an arbitrary key signature. The pitches from @var{pitch} will
818 be printed in the key signature in the order that they appear on the
823 \mark@keyindex{mark} @var{unsigned};
827 Prints a mark over or under (depending on the
828 @code{markDirection}@indexcode{markDirection} property) the staff. You must add
829 @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
832 @node barlines, , , Reference Manual
835 \bar@keyindex{bar} @var{bartype};
838 This is a request to print a special bar symbol. It replaces the
839 regular bar symbol with a special
840 symbol. The argument @var{bartype} is a string which specifies the
841 kind of bar to print. Options are @code{":|"}
842 @cindex "|A@@@code{:|}
845 @cindex "|B@@@code{|:}
847 @cindex "|C@@@code{:|:}
850 @cindex "|D@@@code{||}
852 @cindex "|E@@@code{|.}
855 @cindex "|F@@@code{.|}
857 @cindex "|G@@@code{.|.}
859 These produce, respectively, a right repeat, a left repeat, a double
860 repeat, a double bar, a start bar, an end bar, and a thick double
861 bar. If @var{bartype} is set to @code{"empty"} then nothing is
862 printed, but a line break is allowed at that spot.
864 You are encouraged to use @code{\repeat} for repetitions.
865 See section XREF-sec-repeats [FIXME].
872 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
875 Change the time signature. The default time signature is 4/4.
876 The time signature is used to generate bar lines.
880 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
883 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
884 requests output with 76 quarter notes per minute.
888 \partial@keyindex{partial} @var{duration} @code{;}
895 This creates an incomplete measure (anacrusis, upbeat) at the start of
896 the music, e.g., `@code{\partial 8*2;}' creates a starting measure
897 lasting two eighth notes.
901 @code{|}@indexcode{|}
906 @cindex shorten measures
910 `@code{|}' is a barcheck. Whenever a barcheck is encountered during
911 interpretation, a warning message is issued if it doesn't fall at a
912 measure boundary. This can help you finding errors in the input.
913 The beginning of the measure will be relocated, so this can also
914 be used to shorten measures.
919 \penalty@keyindex{penalty} @var{int} @code{;}
922 Discourage or encourage line breaks. See identifiers
923 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
924 section [on identifiers] [FIXME].
928 \clef@keyindex{clef} @var{clefname} @code{;}
931 Music expression that sets the current clef. The argument is a
932 string which specifies the name of the clef. Several clef names are
933 supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
934 name, then the clef lowered or raised an octave will be generated.
935 Here are the supported clef names with middle C shown in each
944 %\property Voice.textStyle = typewriter
945 \clef subbass; c'4-"\kern -5mm subbass"
946 \clef bass; c'4^"\kern -2mm bass"
947 \clef baritone; c'4_"\kern -5mm baritone"
948 \clef varbaritone; c'4^"\kern -6mm varbaritone"
949 \clef tenor; c'4_"\kern -3mm tenor"
950 \clef "G_8"; c'4^"\kern -2mm G\\_8"
965 \clef alto; c'4_"\kern -2mm alto"
966 \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
967 \clef soprano; c'4_"\kern -6mm soprano"
968 \clef treble; c'4^"\kern -4mm treble"
969 \clef french; c'4_"\kern -4mm french"
978 The three clef symbols can also be obtained using the names `@code{G}',
979 `@code{C}' or `@code{F}', optionally followed by an integer which
980 indicates at which note line the clef is located. An as example, the
981 @code{mezzosoprano} clef can also be given as `@code{C2}'.
985 \skip@keyindex{skip} @var{duration} @code{;}
988 Skips the amount of time specified by @var{duration}. If no other
989 music is played, a gap will be left for the skipped time with no
990 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
991 this has the same effect as the space rest `@code{s}'.
996 @node Manual beams, , , Reference Manual
998 A beam is specified by surrounding the beamed notes with brackets
999 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
1001 @mudela[fragment,verbatim,center]
1002 [a'8 a'] [a'16 a' a' a']
1005 Some more elaborate constructions:
1007 @mudela[fragment,verbatim,center]
1008 [a'16 <a' c''> c'' <a' c''>]
1009 \times 2/3 { [e'8 f' g'] }
1012 Beaming can be generated automatically; see section XREF-autobeam [FIXME].
1014 To place tremolo marks
1015 @cindex tremolo beams
1016 between two notes, begin
1017 with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
1018 will appear instead of beams. Putting more than two notes in such a
1019 construction will produce odd effects. To create tremolo beams on a
1020 single note, simply attach `@code{:}@var{length}' to the note itself
1021 (see also section XREF-tremolo [FIXME]).
1023 @mudela[fragment,verbatim,center]
1024 [:16 e'1 g'] [:8 e'4 f']
1027 @mudela[fragment,verbatim,center]
1028 c'4:32 [:16 c'8 d'8]
1032 @cindex --@@@code{-}@code{-}
1040 The syntax for an extender mark is `@code{__}'. This syntax can only
1041 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
1042 a hyphen that will be printed between two lyric syllables) is
1048 A tie connects two adjacent note heads of the same pitch. When used
1049 with chords, it connects all of the note heads whose pitches match.
1050 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
1051 If you try to tie together chords which have no common pitches, a
1052 warning message will appear and no ties will be created.
1054 @mudela[fragment,verbatim,center]
1055 e' ~ e' <c' e' g'> ~ <c' e' g'>
1060 [TODO: explain Requests]
1063 @cindex articulations
1069 A variety of symbols can appear above and below notes to indicate
1070 different characteristics of the performance. These symbols can be
1071 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1072 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1073 forced to appear above or below the note by writing
1074 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1075 respectively. Here is a chart showing symbols above notes, with the
1076 name of the corresponding symbol appearing underneath.
1082 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1083 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1084 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1085 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1086 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1087 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1088 c''-\thumb c''-\segno c''-\coda
1090 \context Lyrics \lyrics {
1091 accent__ marcato__ staccatissimo__ fermata
1092 stopped__ staccato__ tenuto__ upbow
1093 downbow__ lheel__ rheel__ ltoe
1094 rtoe__ turn__ open__ flageolet
1095 reverseturn__ trill__ prall__ mordent
1096 prallprall__ prallmordent__ uprall__ downprall
1097 thumb__ segno__ coda
1101 linewidth = 5.875\in;
1108 In addition, it is possible to place arbitrary strings of text or
1109 TeX above or below notes by using a string instead of an
1110 identifier: `@code{c^"text"}'. Fingerings
1113 placed by simply using digits. All of these note ornaments appear in
1114 the printed output but have no effect on the MIDI rendering of the
1117 To save typing, fingering instructions (digits 0 to 9 are
1118 supported) and single characters shorthands exist for a few
1125 \property Voice.textStyle = typewriter
1131 c''4-^_"c-\\^{ }" s4
1138 linewidth = 5.875 \in;
1145 Dynamic marks are specified by using an identifier after a note:
1146 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1147 The available dynamic marks are:
1148 @code{\ppp}@keyindex{ppp},
1149 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1150 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1151 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1152 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1153 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1154 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1155 @code{\rfz}@keyindex{rfz}.
1160 \textscript@keyindex{textscript} @var{text} @var{style}
1163 Defines a text to be printed over or under a note. @var{style} is a
1164 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1165 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1167 You can attach a general textscript request using this syntax:
1172 c4-\textscript "6" "finger"
1173 c4-\textscript "foo" "normal"
1178 This is equivalent to `@code{c4-6 c4-"foo"}'.
1185 \script@keyindex{script} @var{alias}
1188 Prints a symbol above or below a note. The argument is a string
1189 which points into the script-alias table defined in @file{script.scm}.
1190 The scheme definitions specify whether the symbol follows notes into
1191 the staff, dependence of symbol placement on staff direction, and a
1192 priority for placing several symbols over one note. Usually the
1193 @code{\script}@keyindex{script} keyword is not used directly. Various
1194 helpful identifier definitions appear in @file{script.ly}.
1199 Slurs connects chords and try to avoid crossing stems. A slur is
1200 started with `@code{(}' and stopped with `@code{)}'. The
1201 starting `@code{(}' appears to the right of the first note in
1202 the slur. The terminal `@code{)}' appears to the left of the
1203 first note in the slur. This makes it possible to put a note in
1204 slurs from both sides:
1206 @mudela[fragment,verbatim,center]
1207 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1213 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1214 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1215 @code{\decr}@keyindex{decr} and terminated with
1216 @code{\rced}@keyindex{rced}. There are also shorthands for these
1217 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1218 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1219 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1220 must go before the last note of the dynamic mark whereas @code{\rc}
1221 and @code{\rced} go after the last note. Because these marks are
1222 bound to notes, if you want to get several marks during one note, you
1223 must use spacer notes.
1225 @mudela[fragment,verbatim,center]
1226 c'' \< \! c'' d'' \decr e'' \rced
1227 < f''1 { s4 \< \! s2 \> \! s4 } >
1233 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1236 Define a spanning request. The @var{startstop} parameter is either -1
1237 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1238 @var{type} is a string that describes what should be started.
1239 Supported types are @code{crescendo}, @code{decrescendo},
1240 @code{beam}, @code{slur}. This is an internal command. Users should
1241 use the shorthands which are defined in the initialization file
1244 You can attach a (general) span request to a note using
1246 @mudela[fragment,verbatim,center]
1247 c'4-\spanrequest \start "slur"
1248 c'4-\spanrequest \stop "slur"
1251 The slur syntax with parentheses is a shorthand for this.
1255 @cindex tremolo marks
1257 @node tremolo, , , Reference Manual
1259 Tremolo marks can be printed on a single note by adding
1260 `@code{:}[@var{length}]' after the note. The length must be at
1261 least 8. A @var{length} value of 8 gives one line across
1262 the note stem. If the length is omitted, then the last value is
1263 used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
1266 @mudela[verbatim,fragment,center]
1272 @node Compound music expressions, , , Reference Manual
1273 @section Compound music expressions
1275 @cindex compound music expressions
1277 Music expressions are compound data structures. You can nest music
1278 expressions any way you like. This simple example shows how three
1279 chords can be expressed in two different ways:
1281 @mudela[fragment,verbatim,center]
1282 \notes \context Staff {
1284 <a c'> <b d' > <c' e'>
1285 < { a b c' } { c' d' e' } >
1289 @cindex context selection
1290 @c @keyindex{context}
1293 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1296 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1297 If the context does not exist, it will be created. The new context
1298 can optionally be given a name. See
1299 section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
1300 information on interpretation contexts.
1308 Mode switching keywords form compound music expressions: @code{\notes}
1309 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1310 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1311 These expressions do not add anything to the meaning of their
1312 arguments. They are just a way to indicate that the arguments should
1313 be parsed in indicated mode. See section XREF-modes [FIXME] for more
1314 information on modes.
1316 More information on context selection can be found in
1317 section XREF-contextselection [FIXME].
1321 @cindex sequential music
1327 \sequential@keyindex{sequential}
1328 @code{@{} @var{musicexprlist} @code{@}}
1331 This means that list should be played or written in sequence, i.e.,
1332 the second after the first, the third after the second. The duration
1333 of sequential music is the the sum of the durations of the elements.
1334 There is a shorthand, which leaves out the keyword:
1338 @code{@{} @var{musicexprlist} @code{@}}
1343 @cindex simultaneous music
1350 \simultaneous@keyindex{simultaneous}
1351 @code{@{} @var{musicexprlist} @code{@}}
1354 It constructs a music expression where all of its arguments start at
1355 the same moment. The duration is the maximum of the durations of the
1356 elements. The following shorthand is a common idiom:
1360 @code{<} @var{musicexprlist} @code{>}
1363 If you try to use a chord as the first thing in your score, you might
1364 get multiple staffs instead of a chord.
1366 @mudela[verbatim,center]
1375 This happens because the chord is interpreted by a score context.
1376 Each time a note is encountered a default Voice context (along with a
1377 Staff context) is created. The solution is to explicitly instantiate
1380 @mudela[verbatim,center]
1382 \notes\context Voice <c''4 e''>
1391 @cindex relative pitch specification
1393 @node relative, , , Reference Manual
1395 It is easy to get confused by octave changing marks and accidentally
1396 putting a pitch in the wrong octave. A much better way of entering a
1397 note's octave is `the relative octave' mode.
1401 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1404 The octave of notes that appear in @var{musicexpr} are calculated as
1405 follows: If no octave changing marks are used, the basic interval
1406 between this and the last note is always taken to be a fourth or
1407 less.@footnote{The interval is determined without regarding
1408 accidentals. A @code{fisis} following a @code{ceses} will be put above
1409 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1410 can then be added to raise or lower the pitch by an extra octave.
1411 Upon entering relative mode, an absolute starting pitch must be
1412 specified that will act as the predecessor of the first note of
1415 Entering scales is straightforward in relative mode.
1417 @mudela[fragment,verbatim,center]
1423 And octave changing marks are used for intervals greater than a fourth.
1425 @mudela[fragment,verbatim,center]
1427 c g c f, c' a, e'' }
1430 If the preceding item is a chord, the first note of the chord is used
1431 to determine the first note of the next chord. But other notes
1432 within the second chord are determined by looking at the immediately
1435 @mudela[fragment,verbatim,center]
1443 The pitch after the @code{\relative} contains a notename. To parse
1444 the pitch as a notename, you have to be in note mode, so there must
1445 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1448 The relative conversion will not affect @code{\transpose} or
1449 @code{\relative} sections in its argument. If you want to use
1450 relative within transposed music, you must place an additional
1451 @code{\relative} inside the @code{\transpose}.
1453 It is strongly recommended to use relative pitch mode: less work,
1454 less error-prone, and more readable.
1458 Chord names are a way to generate simultaneous music expressions that
1459 correspond with traditional chord names. It can only be used in
1460 Chord mode (see section XREF-modes [FIXME]).
1464 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1467 @var{tonic} should be the tonic note of the chord, and @var{duration}
1468 is the chord duration in the usual notation. There are two kinds of
1469 modifiers. One type is @emph{chord additions}, which are obtained by
1470 listing intervals separated by dots. An interval is written by its
1471 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1472 lowering by half a step. Chord additions has two effects: It adds
1473 the specified interval and all lower odd numbered intervals to the
1474 chord, and it may lower or raise the specified interval. Intervals
1475 must be separated by a dot (`@code{.}').
1479 @mudela[fragment,verbatim]
1483 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1490 The second type of modifier that may appear after the `@code{:}' is a
1491 named modifier. Named modifiers are listed in the file
1492 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1493 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1494 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1495 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1496 which replaces the 5th with a 4th.
1500 @mudela[fragment,verbatim]
1503 c1:m c:min7 c:maj c:aug c:dim c:sus
1511 Chord subtractions are used to eliminate notes from a chord. The
1512 notes to be subtracted are listed after a `@code{^}' character,
1515 @mudela[fragment,verbatim,center]
1523 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1524 the name of a single note to a chord. This has the effect of
1525 lowering the specified note by an octave so it becomes the lowest
1526 note in the chord. If the specified note is not in the chord, a
1527 warning will be printed.
1529 @mudela[fragment,verbatim,center]
1538 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1539 the name of a single note to a chord. This has the effect of
1540 adding the specified note to the chord, lowered by an octave,
1541 so it becomes the lowest note in the chord.
1543 @mudela[fragment,verbatim,center]
1552 Throughout these examples, chords have been shifted around the staff
1553 using @code{\transpose}.
1555 You should not combine @code{\relative} with named chords.
1561 Tuplets are made out of a music expression by multiplying their
1562 duration with a fraction.
1566 \times@keyindex{times} @var{fraction} @var{musicexpr}
1569 The duration of @var{musicexpr} will be multiplied by the fraction.
1570 In print, the fraction's denominator will be printed over the notes,
1571 optionally with a bracket. The most common tuplet is the triplet in
1572 which 3 notes have the length of 2, so the notes are 2/3 of
1573 their written length:
1575 @mudela[fragment,verbatim,center]
1576 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1585 \grace@keyindex{grace} @var{musicexpr}
1588 A grace note expression has duration 0; the next real note is
1589 assumed to be the main note.
1591 You cannot have the grace note after the main note, in terms of
1592 duration, and main notes, but you can typeset the grace notes to the
1593 right of the main note using the property
1594 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1596 When grace music is interpreted, a score-within-a-score is set up:
1597 @var{musicexpr} has its own time bookkeeping, and you could (for
1598 example) have a separate time signature within grace notes. While in
1599 this score-within-a-score, you can create notes, beams, slurs, etc.
1600 Unbeamed eighth notes and shorter by default have a slash through the
1601 stem. This behavior can be controlled with the
1602 @code{stemStyle}@indexcode{stemStyle} property.
1606 @mudela[fragment,verbatim]
1608 \grace c8 c4 \grace { [c16 c16] } c4
1609 \grace { \property Grace.stemStyle = "" c16 } c4
1615 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1619 @code{\grace @{ \grace c32 c16 @} c4}
1622 may result in run-time errors of LilyPond. Since the meaning of such
1623 a construct is unclear, we don't consider this a loss. Similarly,
1624 juxtaposing two @code{\grace} sections is syntactically valid, but
1625 makes no sense and may cause runtime errors.
1627 Ending a staff or score with grace notes may also generate a run-time
1628 error, since there will be no main note to attach the grace notes to.
1634 @node Repeats, , , Reference Manual
1636 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1637 keyword. Since repeats look and sound differently when played or
1638 printed, there are a few different variants of repeats.
1642 Repeated music is fully written (played) out. Useful for MIDI
1646 This is the normal notation: Repeats are not written out, but
1647 alternative endings (voltas) are printed, left to right.
1650 Alternative endings are written stacked, which is useful for
1654 The syntax for repeats is
1658 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1661 If you have alternative endings, you may add
1665 \alternative@keyindex{alternative}
1666 @code{@{} @var{alternative1}
1668 @var{alternative3} @dots{} @code{@}}
1671 where each @var{alternative} is a Music expression.
1673 Normal notation repeats are used like this:
1677 @mudela[fragment,verbatim]
1679 \repeat volta 2 { c'4 d' e' f' }
1680 \repeat volta 2 { f' e' d' c' }
1685 With alternative endings:
1689 @mudela[fragment,verbatim]
1691 \repeat volta 2 {c'4 d' e' f'}
1692 \alternative { {d'2 d'} {f' f} }
1697 Folded repeats look like this:@footnote{Folded repeats offer little
1698 more over simultaneous music. However, it is to be expected that
1699 more functionality -- especially for the MIDI backend -- will be
1704 @mudela[fragment,verbatim]
1706 \repeat fold 2 {c'4 d' e' f'}
1707 \alternative { {d'2 d'} {f' f} }
1714 @mudela[fragment,verbatim]
1718 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1719 \alternative { { g4 g g } { a | a a a a | b1 } }
1726 If you don't give enough alternatives for all of the repeats, then
1727 the first alternative is assumed to be repeated often enough to equal
1728 the specified number of repeats.
1732 @mudela[fragment,verbatim]
1735 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1736 \alternative { { g4 g g }
1737 {\partial 1; e4 e e }
1738 {\partial 1; a a a a | b1 } }
1745 It is possible to nest @code{\repeat}. This is not entirely
1746 supported: the notes will come be in the right places, but the repeat
1751 @cindex transposition of pitches
1753 @node transpose, , , Reference Manual
1755 A music expression can be transposed with
1756 @code{\transpose}@keyindex{transpose}. The syntax is
1760 \transpose @var{pitch} @var{musicexpr}
1763 This means that middle C in @var{musicexpr} is transposed to
1766 @code{\transpose} distinguishes between enharmonic pitches: both
1767 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1768 a tone. The first version will print sharps and the second version
1773 @mudela[fragment,verbatim]
1778 \transpose des'' { \key e; c d e f }
1779 \transpose cis'' { \key e; c d e f }
1785 If you want to use both @code{\transpose} and @code{\relative}, then
1786 you must use @code{\transpose} first. @code{\relative} will have no
1787 effect music that appears inside a @code{\transpose}.
1791 @cindex automatic lyric durations
1793 If you have lyrics that are set to a melody, you can import the
1794 rhythm of that melody into the lyrics using @code{\addlyrics}.
1795 @keyindex{addlyrics} The syntax for this is
1799 \addlyrics @var{musicexpr1 musicexpr2}
1802 This means that both @var{musicexpr1} and @var{musicexpr2} are
1803 interpreted, but that every non-command atomic music expression
1804 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1805 of @var{musicexpr1}.
1807 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1808 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1813 @mudela[verbatim,fragment]
1816 \property Voice.automaticMelismata = "1"
1817 c8 () cis d8. e16 f2
1819 \context Lyrics \lyrics {
1825 You should use a single rhythm melody, and single rhythm lyrics (a
1826 constant duration is the obvious choice). If you do not, you will get
1827 undesired effects when using multiple stanzas:
1831 @mudela[verbatim,fragment]
1834 c8 () cis d8. e16 f2
1836 \context Lyrics \lyrics
1843 It is valid (but probably not very useful) to use notes instead of
1844 lyrics for @var{musicexpr2}.
1849 @node Ambiguities, , , Reference Manual
1850 @section Ambiguities
1854 The grammar contains a number of ambiguities.@footnote{The authors
1855 hope to resolve them at a later time.}
1858 @item The assignment
1864 can be interpreted as making a string identifier @code{\foo}
1865 containing @code{"bar"}, or a music identifier @code{\foo}
1866 containing the syllable `bar'.
1868 @item The assignment
1874 can be interpreted as making an integer identifier
1875 containing -6, or a Request identifier containing the
1876 fingering `6' (with neutral direction).
1878 @item If you do a nested repeat like
1890 then it is ambiguous to which @code{\repeat} the
1891 @code{\alternative} belongs. This is the classic if-then-else
1892 dilemma. It may be solved by using braces.
1894 @item (an as yet unidentified ambiguity :-)
1899 @node Notation conversion specifics, , , Reference Manual
1900 @section Notation conversion specifics
1904 @cindex automatic beam generation
1906 @node autobeam, , , Reference Manual
1908 By default, LilyPond will generate beams automatically. This feature
1909 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1910 property to 1. It can be overridden for specific cases by
1911 specifying explicit beams as described in
1912 section XREF-manualbeam [FIXME].
1914 A large number of Voice properties are used to decide how to generate
1915 beams. Their default values appear in @file{auto-beam-settings.ly}.
1916 In general, beams can begin anywhere, but their ending location is
1917 significant. Beams can end on a beat, or at durations specified by
1918 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1919 quarter note, for example, you could set
1920 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1921 at every three eighth notes you would set it to `@code{"3/8"}'. The
1922 same syntax can be used to specify beam starting points using
1923 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1925 To allow different settings for different time signatures, these
1926 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1927 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1928 to specify beams ending only for 6/8 time you would use the
1929 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1930 for notes of different durations, the duration can be tacked onto the
1931 end of the property. To specify beam endings for beams that contain
1932 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1940 @cindex printing!chord names
1942 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1943 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1944 either using the notation described above, or directly using
1949 @mudela[fragment,verbatim]
1951 \context ChordNames {
1952 \chords{a b c} \notes{<d f g> <e g b>}
1954 \context Staff \notes {
1962 LilyPond examines chords specified as lists of notes to determine a
1963 name to give the chord. By default, LilyPond will not try to
1964 identify chord inversions:
1966 @mudela[fragment,verbatim,center]
1968 \context ChordNameVoice \notes {
1971 \context Thread \notes {
1977 If you want inversions to be recognized, you must set the property
1978 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1980 @mudela[fragment,verbatim,center]
1982 \property Score.chordInversion = 1
1983 \context ChordNameVoice \notes {
1986 \context Thread \notes {
1996 @cindex printing!lyrics
1998 @node lyricprint, , , Reference Manual
2000 Lyric syllables must be interpreted within a @code{Lyrics} context
2002 @cindex context!Lyrics
2005 Here is a full example:
2012 \notes \transpose c'' {
2014 e f g2 | e4 f g2 \bar "|.";
2016 \context Lyrics \lyrics {
2017 Va-4 der Ja- cob Va- der Ja- cob
2018 Slaapt gij nog?2 Slaapt4 gij nog?2
2026 You may want a continuous line after the syllables to show melismata.
2027 To achieve this effect, add a `@code{__}' lyric as a separate word
2028 after the lyric to be extended. This will create an extender, a line
2029 that extends over the entire duration of the lyric. This line will
2030 run all the way to the start of the next lyric, so you may want to
2031 shorten it by using a blank lyric (using `@code{_}').
2038 \notes \relative c'' {
2039 a4 () b () c () d | c () d () b () a | c () d () b () a
2041 \context Lyrics \lyrics {
2042 foo1 __ | bar2. __ _4 | baz1 __
2051 If you want to have hyphens centered between syllables (rather than
2052 attached to the end of the first syllable) you can use the special
2053 `@code{-}@code{-}' lyric as a separate word between syllables. This
2054 will result in a hyphen which length varies depending on the space
2055 between syllables, and which will be centered between the syllables.
2063 \notes \transpose c'' {
2065 e f g2 | e4 f g2 \bar "|.";
2067 \context Lyrics \lyrics {
2068 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2069 Slaapt gij nog?2 | Slaapt4 gij nog?2
2079 @node Notation Contexts, , , Reference Manual
2080 @section Notation Contexts
2082 @cindex notation contexts
2084 Notation contexts are objects that only exist during a run of
2085 LilyPond. During the interpretation phase of LilyPond, the Music
2086 expression contained in a @code{\score} block is interpreted in time
2087 order. This is the order in which humans read, play, and write
2090 A context is an object that holds the reading state of the
2091 expression; it contains information like
2094 @item What notes are playing at this point?
2095 @item What symbols will be printed at this point?
2096 @item In what style will they printed?
2097 @item What is the current key signature, time signature, point within
2101 Contexts are grouped hierarchically: A @code{Voice} context is
2102 contained in a @code{Staff} context (because a staff can contain
2103 multiple voices at any point), a @code{Staff} context is contained in
2104 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2105 these can all contain multiple staffs).
2107 Contexts associated with sheet music output are called @emph{notation
2108 contexts}, those for sound output are called playing contexts.
2110 Contexts are created either manually or automatically. Initially,
2111 the top level music expression is interpreted by the top level
2112 context (the @code{Score} context). When a atomic music expression
2113 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2114 set of contexts is created that can process these atomic expressions,
2120 \score @{ \notes < c4 > @}
2125 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2126 context. When the note `@code{c4}' itself is interpreted, a set of
2127 contexts is needed that will accept notes. The default for this is a
2128 @code{Voice} context, contained in a @code{Staff} context. Creation of
2129 these contexts results in the staff being printed.
2134 You can also create contexts manually, and you probably have to do so
2135 if you want to typeset complicated multiple part material. If a
2136 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2137 during the interpretation phase, the @var{musicexpr} argument will be
2138 interpreted with a context of type @var{name}. If you specify a name,
2139 the specific context with that name is searched.
2141 If a context of the specified type and name can not be found, a new
2142 one is created. For example,
2148 \notes \relative c'' {
2149 c4 <d4 \context Staff = "another" e4> f
2156 In this example, the @code{c} and @code{d} are printed on the
2157 default staff. For the @code{e}, a context Staff called
2158 `@code{another}' is specified; since that does not exist, a new
2159 context is created. Within @code{another}, a (default) Voice context
2160 is created for the @code{e4}. When all music referring to a
2161 context is finished, the context is ended as well. So after the
2162 third quarter, @code{another} is removed.
2164 Almost all music expressions inherit their interpretation context
2165 from their parent. In other words, suppose that the syntax for a
2170 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2173 When the interpretation of this music expression starts, the context
2174 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2177 Lastly, you may wonder, why this:
2183 \notes \relative c'' @{
2191 doesn't result in this:
2196 \notes \relative c'' {
2203 For the @code{c4}, a default @code{Staff} (with a contained
2204 @code{Voice}) context is created. After the @code{c4} ends, no
2205 music refers to this default staff, so it would be ended, with the
2206 result shown. To prevent this inconvenient behavior, the context to
2207 which the sequential music refers is adjusted during the
2208 interpretation. So after the @code{c4} ends, the context of the
2209 sequential music is also the default @code{Voice} context.
2210 The @code{d4} gets interpreted in the same context
2215 These are the contexts supplied with the package. They are defined
2216 in the initialization file @file{ly/engraver.ly}.
2219 @item @code{Grace}@indexcode{Grace}
2220 The context for handling grace notes. It is instantiated
2221 automatically when you use @code{\grace}. Basically, it is an
2222 `embedded' miniature of the Score context. Since this context
2223 needs special interaction with the rest of LilyPond, you should
2224 not explicitly instantiate it.
2226 @item @code{LyricVoice}@indexcode{LyricVoice}
2227 Corresponds to a voice with lyrics. Handles the printing of a
2228 single line of lyrics.
2230 @item @code{Thread}@indexcode{Thread}
2231 Handles note heads, and is contained in the Voice context. You
2232 have to instantiate this explicitly if you want to adjust the
2233 style of individual note heads.
2235 @item @code{Voice}@indexcode{Voice}
2236 Corresponds to a voice on a staff. This context handles the
2237 conversion of dynamic signs, stems, beams, super- and subscripts,
2238 slurs, ties, and rests.
2240 You have to instantiate this explicitly if you want to have
2241 multiple voices on the same staff.
2243 @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
2244 A voice with chord names. Handles printing of a line of chord
2247 @item @code{ChordNames}@indexcode{ChordNames}
2248 Typesets chord names. Can contain @code{ChordNamesVoice}
2251 @item @code{Lyrics}@indexcode{Lyrics}
2252 Typesets lyrics. It can contain @code{LyricVoice} contexts.
2254 @item @code{Staff}@indexcode{Staff}
2255 Handles clefs, bar lines, keys, accidentals. It can contain
2256 @code{Voice} contexts.
2258 @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
2259 A context like @code{Staff} but for printing rhythms. Pitches are
2260 ignored; the notes are printed on one line. It can contain
2261 @code{Voice} contexts.
2263 @item @code{GrandStaff}@indexcode{GrandStaff}
2264 Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
2265 brace on the left side, grouping the staffs together. The bar
2266 lines of the contained staffs are connected vertically. It can
2267 contain @code{Staff} contexts.
2269 @item @code{PianoStaff}@indexcode{PianoStaff}
2270 Just like @code{GrandStaff} but with @code{minVerticalAlign} set
2271 equal to @code{maxVerticalAlign} so that interstaff beaming and
2272 slurring can be used.
2274 @item @code{StaffGroup}@indexcode{StaffGroup}
2275 Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
2276 bracket on the left side, grouping the staffs together. The bar
2277 lines of the contained staffs are connected vertically. It can
2278 contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
2279 @code{Lyrics} contexts.
2281 @item @code{ChoirStaff}@indexcode{ChoirStaff}
2282 Identical to @code{StaffGroup} except that the contained staffs
2283 are not connected vertically.
2285 @item @code{Score}@indexcode{Score}
2286 This is the top level notation context. No other context can
2287 contain a @code{Score} context. This context handles the
2288 administration of time signatures. It also makes sure that items
2289 such as clefs, time signatures, and key-signatures are aligned
2290 across staffs. It can contain @code{Lyrics}, @code{Staff},
2291 @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
2292 @code{ChoirStaff} contexts.
2294 You cannot explicitly instantiate a Score context (since it is
2295 not contained in any other context). It is instantiated
2296 automatically when an output definition (a @code{\score} or
2297 @code{\paper} block) is processed.
2302 Properties that are set in one context are inherited by all of the
2303 contained contexts. This means that a property valid for the
2304 @code{Voice} context can be set in the @code{Score} context (for
2305 example) and thus take effect in all @code{Voice} contexts.
2307 Properties can be preset within the @code{\translator} block
2308 corresponding to the appropriate context. In this case, the syntax
2313 @var{propname} @code{=} @var{value}
2316 This assignment happens before interpretation starts, so a
2317 @code{\property} expression will override any predefined settings.
2319 The @code{\property} expression will create any property you specify.
2320 There is no guarantee that a property will be used. So if you spell
2321 a property name wrong, there will be no error message.
2323 The property settings are used during the interpretation phase. They
2324 are read by the LilyPond modules where interpretation contexts are
2325 built of. These modules are called @emph{translators}. Translators for
2326 notation are called @emph{engravers}, and translators for sound are
2327 called @emph{performers}.
2329 The precise result of a property is determined by the implementation
2330 of the translator that reads them. Therefore, the result of a
2331 property can vary, since it is implementation and configuration
2334 In order to fully find out what properties are used, you must
2335 currently search the source code for calls to @code{get_property}.
2336 The rest of the section is devoted to an (incomplete) overview of
2337 available properties.
2339 @mbinclude properties.itely
2341 @node Notation output definitions, , , Reference Manual
2342 @section Notation output definitions
2346 @cindex notation output
2348 @cindex output definition
2350 @node paper, , , Reference Manual
2352 The most important output definition is the @code{\paper} block, for
2353 music notation. The syntax is
2357 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2360 where each of the items is one of
2363 @item An assignment. The assignment must be terminated by a
2364 semicolon. See section XREF-papervars [FIXME] for information on
2367 @item A context definition. See section XREF-contextdefs [FIXME] for
2368 more information on context definitions.
2373 A margin shape declaration. The syntax is
2377 \shape @var{indent1}@code{,} @var{width1}@code{,}
2378 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2383 Each pair of @var{indent} and @var{width} values is a dimension
2384 specifying how far to indent and how wide to make the line.
2385 The indentation and width of successive lines are specified by
2386 the successive pairs of dimensions. The last pair of
2387 dimensions will define the characeristics of all lines beyond
2388 those explicitly specified.
2390 @item A font declaration. Its syntax is
2394 @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
2397 @var{fontsize} is an integer describing the font to be used.
2398 0 is the default font. @var{fontname} is the basename of
2399 a font (usually a member of the Feta family).
2404 @cindex changing font size and paper size
2406 The Feta font provides musical symbols at six different sizes. These
2407 fonts are 11 point, 13 point, 16 point, 20 point,
2408 23 point, and 26 point. The point size of a font is the
2409 height of the five lines in a staff when displayed in the font.
2411 Definitions for these sizes are the files @file{paperSZ.ly}, where
2412 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2413 any of these files, the identifiers @code{paper_eleven},
2414 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2415 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2416 respectively. The default @code{\paper} block is also set.
2418 To change the paper size, you must first set the
2419 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2420 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2421 you must set the font as described above. If you want the default
2422 font, then use the 20 point font. The new paper size will not
2423 take effect if the font is not loaded and selected afterwards. Paper
2424 size selection works by loading a file named after the paper size you
2429 @cindex paper variables
2431 @node Paper variables, , , Reference Manual
2433 There is a large number of paper variables that are used to control
2434 details of the layout. These variables control the defaults for the
2435 entire score. Usually, they do not have to be changed; they are by
2436 default set to values that depend on the font size in use. The
2437 values are used by the graphic objects while formatting the score;
2438 they are therefore implementation dependent. Most variables are
2439 accompanied by documentation in the initalization file
2440 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2443 Nevertheless, here are some variables you may want to use or change:
2446 @item @code{indent}@indexcode{indent}
2447 The indentation of the first line of music.
2449 @item @code{interline}@indexcode{interline}
2450 The distance between two staff lines, calculated from the center
2451 of the lines. You should use either this or @code{rulethickness}
2452 as a unit for distances you modify.
2454 @item @code{linewidth}@indexcode{linewidth}
2455 Sets the width of the lines. If set to -1.0, a single
2456 unjustified line is produced.
2458 @item @code{output}@indexcode{output}
2459 Specifies an alternate name for the the output @file{s}.
2460 A @file{.tex}, @file{.midi} or @file{.ps} extension will be
2461 added to the string you specify.
2463 @item @code{rulethickness}@indexcode{rulethickness}
2464 Determines the thickness of staff and bar lines.
2468 @node contextdefs, , , Reference Manual
2470 @cindex context definition
2472 A notation contexts is defined by the following information
2477 @item The LilyPond modules that do the actual conversion of music to
2478 notation. Each module is a so-called
2483 @item How these modules should cooperate, i.e. which ``cooperation
2484 module'' should be used. This cooperation module is a special
2487 @item What other contexts the context can contain,
2489 @item What properties are defined.
2492 A context definition has this syntax:
2496 \translator @code{@{}
2497 @var{translatorinit} @var{translatormodifierlist}
2501 @var{translatorinit} can be an identifier or of the form
2505 \type @var{typename} @code{;}
2508 @var{typename} is one of
2511 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2512 The standard cooperation engraver.
2514 @item @code{Score_engraver}@indexcode{Score_engraver}
2515 This is cooperation module that should be in the top level context.
2517 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2518 This is a special cooperation module (resembling
2519 @code{Score_engraver}) that is used to created an embedded
2523 @var{translatormodifierlist} is a list of items where each item is
2527 @item @code{\consists} @var{engravername} @code{;}
2528 Add @var{engravername} to the list of modules in this context.
2529 Section XREF-engravers [FIXME] contains an overview of the engravers
2530 available. The order of engravers added with @code{\consists} is
2533 @item @code{\consistsend} @var{engravername} @code{;}
2534 Analogous to @code{\consists}, but makes sure that
2535 @var{engravername} is always added to the end of the list of
2538 Some engraver types need to be at the end of the list; this
2539 insures they are put there, and stay there, if a user adds or
2540 removes engravers. This command is usually not needed for
2543 @item @code{\accepts} @var{contextname} @code{;}
2544 Add @var{contextname} to the list of context this context can
2545 contain. The first listed context the context to create by
2548 @item @code{\remove} @var{engravername} @code{;}
2549 Remove a previously added (with @code{\consists}) engraver.
2551 @item @code{\name} @var{contextname} @code{;}
2552 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2553 the name is not specified, the translator won't do anything.
2555 @item @var{propname} @code{=} @var{value} @code{;}
2556 A property assignment. It is allowed to use reals for
2560 In the @code{\paper} block, it is also possible to define translator
2561 identifiers. Like other block identifiers, the identifier can only
2562 be used as the very first item of a translator. In order to define
2563 such an identifier outside of @code{\score}, you must do
2569 foo = \translator @{ @dots{} @}
2576 \translator @{ \foo @dots{} @}
2584 @cindex paper types, engravers, and pre-defined translators
2586 Some pre-defined identifiers can simplify modification of
2587 translators. The pre-defined identifiers are:
2590 @item @code{StaffContext}@indexcode{StaffContext}
2591 Default Staff context.
2593 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2594 Default RhythmicStaff context.
2596 @item @code{VoiceContext}@indexcode{VoiceContext}
2597 Default Voice context.
2599 @item @code{ScoreContext}@indexcode{ScoreContext}
2600 Default Score context.
2602 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2603 Score context with numbering at the Score level.
2605 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2606 Staff context with numbering at the Staff level.
2608 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2609 Staff context that does not print if it only contains rests.
2610 Useful for orchestral scores.@footnote{Harakiri, also called
2611 Seppuku, is the ritual suicide of the Samourai.}
2613 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2615 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2618 Using these pre-defined values, you can remove or add items to the
2627 \remove Some_engraver;
2628 \consists Different_engraver;
2637 @node engravers, , , Reference Manual
2639 The engravers for paper output are:
2644 @item @code{Bar_engraver}@indexcode{Bar_engraver}
2645 Engraves bar lines. Normally in @code{Staff} and
2646 @code{RhythmicStaff}.
2648 @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
2649 Engrave bar numbers. These numbers appear at the start of each
2650 line. Not normally in any translator. Can be added to
2651 @code{Score} for score-wide numbering or to @code{Staff} for
2652 numbering on each staff.
2654 @item @code{Beam_engraver}@indexcode{Beam_engraver}
2655 Handles beam requests by engraving beams. Normally appears in
2656 the @code{Voice} translator. If omitted, then notes will be
2657 printed with flags instead of beams.
2659 @item @code{Beam_req_swallow_translator}
2660 @indexcode{Beam_req_swallow_translator}
2661 Swallows beam requests. In @code{LyricVoice}.
2663 @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
2664 Engraves chord names. Normally in @code{ChordNameVoice} .
2666 @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
2668 @item @code{Clef_engraver}@indexcode{Clef_engraver}
2669 Engraves the clef symbol. Normally in @code{Staff}.
2671 @item @code{Collision_engraver}@indexcode{Collision_engraver}
2673 @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
2674 Engraves dots on dotted notes shifted to the right of the note.
2675 Normally in @code{Voice}. If omitted, then dots appear on top of
2678 @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
2679 Engraves dynamics symbols. Normally in @code{Voice}.
2681 @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
2683 @item @code{Key_engraver}@indexcode{Key_engraver}
2684 Engraves the key signature. Normally in @code{Staff}.
2686 @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
2688 @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
2689 Engraves lyrics. Normally in @code{LyricVoice}.
2691 @item @code{Multi_measure_rest_engraver}
2692 @indexcode{Multi_measure_rest_engraver}
2693 Engraves multi-measure rests that are produced with @code{R}.
2694 Normally in @code{Voice}.
2696 @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
2698 @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
2699 Treat all pitches as middle C. Used in @code{RhythmicStaff}.
2700 Note that the notes move, but the locations of accidentals stay
2703 @item @code{Priority_horizontal_align_engraver}
2704 @indexcode{Priority_horizontal_align_engraver}
2706 @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
2707 Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
2709 @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
2710 Handles collisions of rests. In @code{Staff}.
2712 @item @code{Rest_engraver}@indexcode{Rest_engraver}
2713 Engraves rests. Normally in @code{Voice}.
2715 @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
2717 @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
2719 @item @code{Script_engraver}@indexcode{Script_engraver}
2720 Handles note ornaments generated by @code{\script}. Normally in
2723 @item @code{Separating_line_group_engraver}
2724 @indexcode{Separating_line_group_engraver}
2726 @item @code{Skip_req_swallow_translator}
2727 @indexcode{Skip_req_swallow_translator}
2729 @item @code{Slur_engraver}@indexcode{Slur_engraver}
2730 Engraves slurs. Normally in @code{Voice}.
2732 @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
2733 Engraves lines across multiple staffs. Normally in
2734 @code{Staffgroup} and @code{GrandStaff}. Removing this from
2735 @code{StaffGroup} gives the definition of @code{ChoirStaff}.
2737 @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
2739 @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
2741 @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
2742 Prints the name of the instrument (specified by
2743 @code{Staff.instrument} and @code{Staff.instr}) at the left of the
2746 @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
2748 @item @code{Stem_engraver}@indexcode{Stem_engraver}
2749 Engraves stems. Normally in @code{Voice}.
2751 @item @code{Ties_engraver}@indexcode{Ties_engraver}
2752 Engraves ties. Normally in @code{Voice}.
2754 @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
2755 Engraves the time signature. Normally in @code{Staff} and
2756 @code{RhythmicStaff}.
2758 @item @code{Timing_engraver}@indexcode{Timing_engraver}
2759 Responsible for synchronizing timing information from staffs.
2760 Normally in @code{Score}. In order to create polyrhythmic music,
2761 this engraver should be removed from @code{Score} and placed in
2764 @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
2765 Engraves tuplet brackets? In @code{Staff}.
2767 @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
2772 @node Sound output, , , Reference Manual
2773 @section Sound output
2777 The MIDI block is analogous to the paper block, but it is simpler.
2778 The @code{\midi} block can contain:
2782 @item a @code{\tempo} definition
2783 @item context definitions
2786 Assignments in the @code{\midi} block are not allowed.
2790 @cindex context definition
2792 Context definitions follow precisely the same syntax as within the
2793 \paper block. Translation modules for sound are called performers.
2794 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2798 @cindex MIDI instrument names
2800 @node midilist, , , Reference Manual
2802 The MIDI instrument name is set by the
2803 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2804 if that property is not set, the
2805 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2806 instrument name should be chosen from the following list. If the
2807 selected string does not exactly match, then LilyPond uses the default
2814 "acoustic grand" "contrabass" "lead 7 (fifths)"
2815 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2816 "electric grand" "pizzicato strings" "pad 1 (new age)"
2817 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2818 "electric piano 1" "timpani" "pad 3 (polysynth)"
2819 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2820 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2821 "clav" "synthstrings 1" "pad 6 (metallic)"
2822 "celesta" "synthstrings 2" "pad 7 (halo)"
2823 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2824 "music box" "voice oohs" "fx 1 (rain)"
2825 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2826 "marimba" "orchestra hit" "fx 3 (crystal)"
2827 "xylophone" "trumpet" "fx 4 (atmosphere)"
2828 "tubular bells" "trombone" "fx 5 (brightness)"
2829 "dulcimer" "tuba" "fx 6 (goblins)"
2830 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2831 "percussive organ" "french horn" "fx 8 (sci-fi)"
2832 "rock organ" "brass section" "sitar"
2833 "church organ" "synthbrass 1" "banjo"
2834 "reed organ" "synthbrass 2" "shamisen"
2835 "accordion" "soprano sax" "koto"
2836 "harmonica" "alto sax" "kalimba"
2837 "concertina" "tenor sax" "bagpipe"
2838 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2839 "acoustic guitar (steel)" "oboe" "shanai"
2840 "electric guitar (jazz)" "english horn" "tinkle bell"
2841 "electric guitar (clean)" "bassoon" "agogo"
2842 "electric guitar (muted)" "clarinet" "steel drums"
2843 "overdriven guitar" "piccolo" "woodblock"
2844 "distorted guitar" "flute" "taiko drum"
2845 "guitar harmonics" "recorder" "melodic tom"
2846 "acoustic bass" "pan flute" "synth drum"
2847 "electric bass (finger)" "blown bottle" "reverse cymbal"
2848 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2849 "fretless bass" "whistle" "breath noise"
2850 "slap bass 1" "ocarina" "seashore"
2851 "slap bass 2" "lead 1 (square)" "bird tweet"
2852 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2853 "synth bass 2" "lead 3 (calliope)" "helicopter"
2854 "violin" "lead 4 (chiff)" "applause"
2855 "viola" "lead 5 (charang)" "gunshot"
2856 "cello" "lead 6 (voice)"
2862 @cindex MIDI types and performers
2864 The types available for MIDI translators are:
2867 @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
2868 @item @code{Score_performer}@indexcode{Score_performer}
2869 @item @code{Staff_performer}@indexcode{Staff_performer}
2872 The performers for MIDI translators are:
2875 @item @code{Key_performer}@indexcode{Key_performer}
2876 @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
2877 @item @code{Note_performer}@indexcode{Note_performer}
2878 @item @code{Lyric_performer}@indexcode{Lyric_performer}
2879 @item @code{Swallow_performer}@indexcode{Swallow_performer}
2884 @node Pre-defined Identifiers, , , Reference Manual
2886 @section Pre-defined Identifiers
2888 @cindex pre-defined identifiers
2891 Various identifiers are defined in the initialization files to
2892 provide shorthands for some settings. Most of them are in
2893 @file{ly/declarations.ly}.
2896 @item @code{\break}@keyindex{break}
2897 Force a line break in music by using a large argument for the
2898 keyword @code{\penalty}.
2900 @item @code{\center}@keyindex{center}
2901 Used for setting direction properties. Equals 0.
2903 @item @code{\down}@keyindex{down}
2904 Used for setting direction setting properties. Is equal
2907 @item @code{\free}@keyindex{free}
2908 Used for setting direction setting properties. Is equal
2911 @item @code{\left}@keyindex{left}
2912 Used for setting text alignment property. Is equal to -1.
2914 @item @code{\nobreak}@keyindex{nobreak}
2915 Prevent a line break in music by using a large negative argument
2916 for the keyword @code{\penalty}.
2918 @item @code{\none}@keyindex{none}
2919 Used for setting @code{Score.beamslopedamping} and
2920 @code{Score.beamquantisation} properties. Is equal to 0.
2922 @item @code{\normal}@keyindex{normal}
2923 Used for setting @code{Score.beamslopedamping} and
2924 @code{Score.beamquantisation} properties. Is equal to 1.
2926 @item @code{\normalkey}@keyindex{normalkey}
2927 Select normal key signatures where each octave has the same key
2928 signature. This sets the @code{Staff.keyoctaviation} property.
2930 @item @code{\right}@keyindex{right}
2931 Used for setting text alignment property. Is set to 1.
2933 @item @code{\shiftoff}@keyindex{shiftoff}
2934 Disable horizontal shifting of note heads that collide. Sets the
2935 @code{Voice.horizontalNoteShift} property.
2937 @item @code{\shifton}@keyindex{shifton}
2938 Enable note heads that collide with other note heads to be
2939 shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
2942 @item @code{\slurboth}@keyindex{slurboth}
2943 Allow slurs to be above or below notes. This sets the
2944 @code{Voice.slurVerticalDirection} property.
2946 @item @code{\slurdown}@keyindex{slurdown}
2947 Force slurs to be below notes. This sets the
2948 @code{Voice.slurVerticalDirection} property.
2950 @item @code{\slurup}@keyindex{slurup}
2951 Force slurs to be above notes. This sets the
2952 @code{Voice.slurVerticalDirection} property.
2954 @item @code{\specialkey}@keyindex{specialkey}
2955 Allow key signatures do differ in different octaves. This sets
2956 the @code{Staff.keyoctaviation} property.
2958 @item @code{\stemboth}@keyindex{stemboth}
2959 Allow stems, beams, and slurs to point either upwards or
2960 downwards, decided automatically by LilyPond. This sets the
2961 @code{Voice.verticalDirection} property.
2963 @item @code{\stemdown}@keyindex{stemdown}
2964 Force stems, beams, and slurs to point down. This sets the
2965 @code{Voice.verticalDirection} property.
2967 @item @code{\stemup}@keyindex{stemup}
2968 Force stems, beams and slurs to point up. This sets the
2969 @code{Voice.verticalDirection} property.
2971 @item @code{\traditional}@keyindex{traditional}
2972 Used for setting the @code{Score.beamquantisation} property. Is
2975 @item @code{\up}@keyindex{up}
2976 Used for setting various direction properties. Is equal