4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
17 @macro internalsref{NAME}
18 @uref{../lilypond-internals/\NAME\.html,\NAME\}
21 @macro seeinternals{NAME}
22 See @internalsref{\NAME\}
28 @macro seeinternals{NAME}
30 @macro internalsref{NAME}
37 @c .{Reference Manual}
39 @node Reference Manual
40 @chapter Reference Manual
43 <!--- @@WEB-TITLE@@=Reference Manual --->
46 This document describes GNU LilyPond and its input format. The last
47 revision of this document was made for LilyPond 1.4.1. It supposes a
48 passing familiarity with how LilyPond input works. New users are
49 encouraged to study the tutorial first.
51 The reference manual is ordered according to different tasks.
52 More details on the property setting mechanisms and context handling is
53 provided in @ref{Tuning output} and @ref{Interpretation context}. The
54 syntactical details are described at the end of the manual.
77 * Skipping corrected music::
78 * Interpretation context::
88 The purpose of LilyPond is explained informally by the term `music
89 typesetter'. This is not a fully correct name: not only does the
90 program print musical symbols, it also makes aesthetic decisions.
91 Symbols and their placements are @emph{generated} from a high-level
92 musical description. In other words, LilyPond would be best described
93 by `music compiler' or `music to notation compiler'.
95 LilyPond is linked to GUILE, GNU's Scheme library for extension
96 programming. The Scheme library provides the glue that holds together
97 the low-level routines and separate modules which are written in C++.
99 When lilypond is run to typeset sheet music, the following happens:
101 @item GUILE Initialization: various scheme files are read
102 @item parsing: first standard @code{ly} initialization files are read, and
103 then the user @file{ly} file is read.
104 @item interpretation: the music in the file is processed ``in playing
105 order'', i.e. the order that you use to read sheet music, or the
106 order in which notes are played. The result of this step is a typesetting
110 The typesetting specification is solved: positions and formatting is
113 @item the visible results ("virtual ink") are written to the output file.
116 During these stages different types of data play the the main role:
117 during parsing, @strong{Music} objects are created. During the
118 interpretation, @strong{contexts} are constructed, and with these contexts
119 a network of @strong{graphical objects} (``grobs'') is created. These
120 grobs contain unknown variables, and the network forms a set of
121 equations. After solving the equations and filling in these variables,
122 the printed output (in the form of @strong{molecules}) is written to an
125 These threemanship of tasks (parsing, translating, typesetting) and
126 data-structures (music, context, graphical objects) permeates the entire
127 design of the program.
129 @c FIXME: Note entry vs Music entry at top level menu is confusing.
135 The most basic forms of music are notes. We discuss how you enter them
136 here. Notes on their own don't form valid input, but for the sake of
137 brevity we omit obligatory lint such as @code{\score} blocks and
138 @code{\paper} declarations.
149 * Defining pitch names::
150 * Easy Notation note heads ::
157 A note specification has the form
160 @var{pitch}[!][?][@var{duration}]
163 The alteration refers to what note is heard, not to whether an
164 accidental is printed. This is done depending on the key and context.
165 A reminder accidental
166 @cindex reminder accidental
168 can be forced by adding an exclamation mark @code{!} after the pitch. A
169 cautionary accidental,
170 @cindex cautionary accidental
171 @cindex parenthesized accidental
172 i.e., an accidental within parentheses can be obtained by adding the
173 question mark `@code{?}' after the pitch.
175 @lilypond[fragment,verbatim,center]
176 cis' d' e' cis' c'? d' e' c'!
179 The grob for a note head is called @internalsref{NoteHead}.
187 @cindex Note specification
189 @cindex entering notes
191 The verbose syntax for pitch specification is
193 @cindex @code{\pitch}
195 \pitch @var{scmpitch}
198 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
200 In Note and Chord mode, pitches may be designated by names. The default
201 names are the Dutch note names. The notes are specified by the letters
202 @code{a} through @code{g} (where the octave is formed by notes ranging
203 from @code{c} to @code{b}). The pitch @code{c} is an octave below
204 middle C and the letters span the octave above that C.
206 @cindex note names, Dutch
208 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
209 name and a flat is formed by adding @code{-es}. Double sharps and double
210 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
211 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
212 both forms are accepted.
214 LilyPond has predefined sets of note names for various other languages.
215 To use them, simply include the language specific init file. For
216 example: @code{\include "english.ly"}. The available language files and
217 the names they define are:
220 Note Names sharp flat
221 nederlands.ly c d e f g a bes b -is -es
222 english.ly c d e f g a bf b -s/-sharp -f/-flat
223 deutsch.ly c d e f g a b h -is -es
224 norsk.ly c d e f g a b h -iss/-is -ess/-es
225 svenska.ly c d e f g a b h -iss -ess
226 italiano.ly do re mi fa sol la sib si -d -b
227 catalan.ly do re mi fa sol la sib si -d/-s -b
235 The optional octave specification takes the form of a series of
236 single quote (`@code{'}') characters or a series of comma
237 (`@code{,}') characters. Each @code{'} raises the pitch by one
238 octave; each @code{,} lowers the pitch by an octave.
240 @lilypond[fragment,verbatim,center]
241 c' c'' es' g' as' gisis' ais'
249 A rest is entered like a note, with note name `@code{r}':
251 @lilypond[singleline,verbatim]
255 The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
256 specified using @code{R}, see @ref{Multi measure rests}.
258 For polyphonic music, it can be convenient to specify the rest position
259 directly. You can do that by entering a note, with the keyword
260 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
262 @lilypond[singleline,verbatim]
272 @cindex Invisible rest
275 An invisible rest, or skip, can be entered like a note with note name
278 @lilypond[singleline,verbatim]
282 Actually, this is a shorthand for the @code{\skip} command, and it is
283 only available in Note mode and Chord mode.
285 @c FIXME: in lyrics mode, we have " " and _
287 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
288 @lilypond[singleline,verbatim]
290 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
291 \notes\relative c'' { a2 a4 a a2 a4 a }
295 The unabbreviated `@code{\skip} @var{duration}' also works outside of
298 @lilypond[singleline,verbatim]
301 { \time 4/8 \skip 2 \time 4/4 }
302 \notes\relative c'' { a2 a1 }
307 Note that the skip does not produce any output, not even transparent output.
312 @subsection Durations
316 @cindex @code{\duration}
318 The syntax for a verbose duration specification is
320 \duration @var{scmduration}
322 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
323 @ref{Duration} for more information.
326 In Note, Chord, and Lyrics mode, durations may be designated by numbers
327 and dots: durations are entered as their reciprocal values. For notes
328 longer than a whole you must use identifiers.
332 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
334 r1 r2 r4 r8 r16 r32 r64 r64
340 \notes \relative c'' {
342 a1 a2 a4 a8 a16 a32 a64 a64
344 r1 r2 r4 r8 r16 r32 r64 r64
349 \remove "Clef_engraver"
350 \remove "Staff_symbol_engraver"
351 \remove "Time_signature_engraver"
352 \consists "Pitch_squash_engraver"
358 To get a longa note head, you have to use mensural note heads. This
359 is accomplished by setting the @code{style} property of the
360 NoteHead grob to @code{mensural}. There is also a note head style
361 @code{baroque} which gives mensural note heads for @code{\longa} and
362 @code{\breve} but standard note heads for shorter notes.
364 @lilypond[fragment,singleline,verbatim]
365 \property Voice.NoteHead \set #'style = #'mensural
369 If the duration is omitted then it is set to the previous duration
370 entered. At the start of parsing a quarter note is assumed. The
371 duration can be followed by dots (`@code{.}') to obtain dotted note
375 @lilypond[fragment,verbatim,center]
381 You can alter the length of duration by a fraction @var{N/M} by
382 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
383 will not affect the appearance of the notes or rests produced.
395 A tie connects two adjacent note heads of the same pitch. When used
396 with chords, it connects all the note heads whose pitches match.
397 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
398 together chords which have no common pitches then no ties will be
401 @lilypond[fragment,verbatim,center]
402 e' ~ e' <c' e' g'> ~ <c' e' g'>
405 If you dislike the amount of ties created for a chord, you set
406 @code{Voice.sparseTies} to true, resulting in a smaller number of
408 @lilypond[fragment,verbatim,center]
409 \property Voice.sparseTies = ##t
410 <c' e' g'> ~ <c' e' g'>
413 In its meaning a tie is just a way of extending a note duration, similar
414 to the augmentation dot: the following example are two ways of notating
415 exactly the same concept.
417 @lilypond[fragment, singleline]
418 \time 3/4 c'2. c'2 ~ c'4
421 The name of the tie grob is @internalsref{Tie}, and it is created in the
422 @internalsref{Voice} context.
426 At present, the tie is implemented as a separate thing, temporally
427 located in between the notes. There is also no way to convert
428 between tied notes, dotted notes and plain notes.
430 Tieing only a subset of the note heads of a chord is not supported in a
431 simple way. It can be achieved by moving the tie-engraver into the Thread
432 context and turning on and off ties per Thread.
440 @cindex @code{\times}
442 Tuplets are made out of a music expression by multiplying all duration
445 @cindex @code{\times}
447 \times @var{fraction} @var{musicexpr}
450 The duration of @var{musicexpr} will be multiplied by the fraction.
451 In print, the fraction's denominator will be printed over the notes,
452 optionally with a bracket. The most common tuplet is the triplet in
453 which 3 notes have the length of 2, so the notes are 2/3 of
454 their written length:
456 @lilypond[fragment,verbatim,center]
457 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
460 The property @code{tupletSpannerDuration} specifies how long each bracket
461 should last. With this, you can make lots of tuplets while typing
462 @code{\times} only once, thus saving typing work.
464 @lilypond[fragment, relative, singleline, verbatim]
465 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
466 \times 2/3 { c'8 c c c c c }
469 The format of the number is determined by the property
470 @code{tupletNumberFormatFunction}. The default prints only the
471 denominator, but if you set it to the Scheme function
472 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
475 The typesetting of brackets and numbers is controlled by the properties
476 @code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
478 @lilypond[fragment, relative, singleline, verbatim]
479 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
480 \times 2/3{c'8 d e} \times 2/3{d4 e8}
481 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
482 \times 2/3{c d e} \times 2/3{d4 e8}
483 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
484 \times 2/3{c d e} \times 2/3{d4 e8}
485 \property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
486 \times 2/3{c d e} \times 2/3{d4 e8}
487 \property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
488 \times 2/3{c d e} \times 2/3{d4 e8}
491 @cindex @code{tupletNumberFormatFunction}
492 @cindex tuplet formatting
494 Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
495 often in the @internalsref{Voice} context.
497 @c . {Defining pitch names}
498 @node Defining pitch names
499 @subsection Defining pitch names
501 @cindex defining pitch names
502 @cindex pitch names, defining
504 Note names and chord modifiers can be customized for nationalities. The
505 syntax is as follows.
507 @cindex @code{\pitchnames}
508 @cindex @code{\chordmodifiers}
510 \pitchnames @var{scheme-alist}
511 \chordmodifiers @var{scheme-alist}
514 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
515 specific examples on how to do this.
518 @node Easy Notation note heads
519 @subsection Easy Notation note heads
521 @cindex easy notation
524 A entirely different type of note head is the "easyplay" note head: a
525 note head that includes a note name. It is used in some publications by
526 Hal-Leonard Inc. music publishers.
528 @lilypond[singleline,verbatim]
529 \include "paper23.ly"
531 \notes { c'2 e'4 f' | g'1 }
532 \paper { \translator { \EasyNotation } }
536 Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
537 probably will want to print it with magnification to make it more
538 readable, see @ref{Output scaling}.
544 If you view the result with Xdvi, then staff lines will show through the
545 letters. Printing the postscript file obtained either by using dvips or
546 the @code{-f ps} option of lilypond produces the correct result.
551 @section Staff notation
553 @cindex Staff notation
565 @subsection Key signature
570 Setting or changing the key signature is done with the @code{\key}
573 @code{\key} @var{pitch} @var{type}
576 @cindex @code{\minor}
577 @cindex @code{\major}
578 @cindex @code{\minor}
579 @cindex @code{\ionian}
580 @cindex @code{\locrian}
581 @cindex @code{\aeolian}
582 @cindex @code{\mixolydian}
583 @cindex @code{\lydian}
584 @cindex @code{\phrygian}
585 @cindex @code{\dorian}
587 Here, @var{type} should be @code{\major} or @code{\minor} to get
588 @var{pitch}-major or @var{pitch}-minor, respectively.
589 The standard mode names @code{\ionian},
590 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
591 @code{\phrygian}, and @code{\dorian} are also defined.
593 This command sets the context property @code{Staff.keySignature}.
594 Non-standard key signatures can be specified by setting this property
597 The printed signature is a @internalsref{KeySignature} grob, typically
598 created in @internalsref{Staff} context.
600 @cindex @code{keySignature}
607 The clef can be set or changed with the @code{\clef} command.
615 \property Staff.clefGlyph = @var{glyph associated with clefname}
616 \property Staff.clefPosition = @var{clef Y-position for clefname}
617 \property Staff.centralCPosition = @var{position for central C}
618 \property Staff.clefOctavation = @var{extra transposition of clefname}
622 Any change in these properties creates a clef (A @internalsref{Clef} grob).
624 Supported clef-names include
626 @c Moved standard clefs to the top /MB
628 @item treble, violin, G, G2
637 G clef on 1st line, so-called French violin clef
652 By adding @code{_8} or @code{^8} to the clef name, the clef is
653 transposed one octave down or up, respectively. Note that you have to
654 enclose @var{clefname} in quotes if you use underscores or digits in the
660 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
669 @item clefs-vaticana_do
670 Editio Vaticana style do clef
671 @item clefs-vaticana_fa
672 Editio Vaticana style fa clef
673 @item clefs-medicaea_do
674 Editio Medicaea style do clef
675 @item clefs-medicaea_fa
676 Editio Medicaea style fa clef
677 @item clefs-mensural1_c
678 modern style mensural C clef
679 @item clefs-mensural2_c
680 historic style small mensural C clef
681 @item clefs-mensural3_c
682 historic style big mensural C clef
683 @item clefs-mensural1_f
684 historic style traditional mensural F clef
685 @item clefs-mensural2_f
686 historic style new mensural F clef
687 @item clefs-mensural_g
688 historic style mensural G clef
689 @item clefs-hufnagel_do
690 historic style hufnagel do clef
691 @item clefs-hufnagel_fa
692 historic style hufnagel fa clef
693 @item clefs-hufnagel_do_fa
694 historic style hufnagel combined do/fa clef
695 @item clefs-percussion
696 modern style percussion clef
699 @emph{Modern style} means ``as is typeset in current editions.''
700 @emph{Historic style} means ``as was typeset or written in contemporary
701 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
704 @cindex Vaticana, Editio
705 @cindex Medicaea, Editio
706 @cindex hufnagel clefs
709 @c . {Time signature}
711 @subsection Time signature
712 @cindex Time signature
716 The time signature is set or changed by the @code{\time}
719 \time @var{n}@code{/}@var{d}
721 Internally, this is a shortcut for doing
723 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
724 \property Score.beatLength = #(make-moment 1 @var{d})
725 \property Score.measureLength = #(make-moment @var{n} @var{d})
728 These properties @code{timeSignatureFraction} determine where bar lines
729 should be inserted, and how automatic beams should be
732 Changing the value of @code{timeSignatureFraction} also causes a
733 fraction to be printed. This grob is @internalsref{TimeSignature}.
735 The actual symbol that's printed can be customized with the style
737 @lilypond[fragment, verbatim, singleline]
739 \property Staff.TimeSignature \override #'style = #'C
741 \property Staff.TimeSignature \override #'style = #'()
743 \property Staff.TimeSignature \override #'style = #'C
747 There are many more options for the layout of this grob. They are
748 selected through the @code{style} grob property.
750 @c FIXME: this isn't documented except in example?
752 @file{input/test/time.ly} for examples.
759 @cindex partial measure
760 @cindex measure, partial
761 @cindex shorten measures
762 @cindex @code{\partial}
764 Partial measures, for example in upbeats, are entered using the
765 @code{\partial} command:
767 \partial @var{duration}
770 Internally, this is a shortcut for
773 \property Score.measurePosition = -@var{length of duration}
777 The property @code{measurePosition} contains a rational number
778 indicating how much of the measure has passed at this point.
781 @node Unmetered music
782 @subsection Unmetered music
784 Bar lines and bar numbers are calculated automatically. For unmetered
785 music (e.g. cadenzas), this is not desirable. The property
786 @code{Score.timing} can be used to switch off this automatic timing
788 @lilypond[fragment,relative,singleline,verbatim]
790 \property Score.timing = ##f
792 \property Score.timing = ##t
796 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
803 @subsection Bar lines
807 @cindex measure lines
814 This is a shortcut for doing
816 \property Score.whichBar = @var{bartype}
818 The following bar types are available
820 @lilypond[fragment, relative, singleline, verbatim]
833 You are encouraged to use @code{\repeat} for repetitions. See
837 @cindex Bar_line_engraver
839 @cindex repeatCommands
840 @cindex defaultBarType
842 Whenever @code{whichBar} is set to a string, a bar line of that type is
843 created. @code{whichBar} is usually set automatically: at the start of
844 a measure it is set to @code{defaultBarType}. The contents of
845 @code{repeatCommands} is used to override default measure bars.
847 @code{whichBar} can also be set directly, using @code{\property} or
848 @code{\bar }. These settings take precedence over the automatic
849 @code{whichBar} settings.
851 @internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
858 Polyphonic parts, i.e. parts with more than one voice on a staff can be
859 typeset with LilyPond.
861 The easiest way to enter such fragments, is the Scheme function
862 @code{voicify-music}. It will split chords using the separator
863 @code{\\}, to make multiple voices. You can use it for small,
864 short-lived voices (make a chord of voices) or for single chords:
866 @lilypond[verbatim,fragment]
867 \context Voice = VA \apply #voicify-music \relative c'' {
868 c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
872 The function @code{voicify-music} instantiates @internalsref{Voice}
873 contexts, bearing the names @code{"1"}, @code{"2"}, etc.
875 To explicity typeset polyphonic music, instantiate a separate Voice
876 context for each part, and assign a stem direction to each part.
878 @lilypond[fragment,verbatim]
880 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
881 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
884 When there are more than two voices on a staff, you must also indicate
885 which voice should moved horizontally in case of a collision. This can
886 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
887 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
888 in @internalsref{NoteColumn}).
890 @lilypond[fragment, verbatim]
891 \context Staff \notes\relative c''<
898 \context Voice=three {
899 \shiftOnn \stemUp ais
901 \context Voice=four {
902 \shiftOnnn \stemUp fis
907 The most convenient way is to use the identifiers @code{\voiceOne}
908 through @code{\voiceFour}, which also set slur and tie directions in the
911 @lilypond[singleline, verbatim]
913 \context Staff < \context Voice = VA { \voiceOne cis2 b }
914 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
915 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
918 Normally, note heads with a different number of dots are not merged, but
919 if you set the grob property @code{merge-differently-dotted}, they are:
921 @lilypond[verbatim,fragment,singleline]
923 \context Voice = VA { \voiceOne
925 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
928 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
932 LilyPond also vertically shifts rests that are opposite of a stem.
934 @lilypond[singleline,verbatim]
936 \context Voice { \stemUp c''4 }
937 \context Voice =VB { r4 }
941 Note head collisions (horizontal shifting of note heads) are handled by
942 the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
943 handles vertical shifting of rests.
951 Resolving collisions is a very intricate subject, and LilyPond only
952 handles a few situations. When it can not cope, you are advised to use
953 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
954 the Rest grob to override typesetting decisions.
959 Beams are used to group short notes into chunks that are aligned with
960 the metrum. LilyPond guesses where beams should be inserted. If you're
961 not satisfied with the automatic beaming, you can specify which patterns
962 to beam automatically. In specific cases, you can also enter the beams
966 @c . {Automatic beams}
967 @subsection Automatic beams
969 @cindex @code{Voice.autoBeamSettings}
970 @cindex @code{(end * * * *)}
971 @cindex @code{(begin * * * *)}
974 In normal time signatures, automatic beams can start on any note but can
975 only end in a few positions within the measure: beams can end on a beat,
976 or at durations specified by the properties in
977 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
978 are defined in @file{scm/auto-beam.scm}.
980 The value of @code{autoBeamSettings} is changed using
981 @code{\override} and unset using @code{\revert}:
983 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
984 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
986 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
987 whether the rule applies to begin or end-points. The quantity
988 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
989 *}' designates notes of any length), @var{N}/@var{M} refers to a time
990 signature (wildcards, `@code{* *}' may be entered to designate all time
993 For example, if you want automatic beams to end on every quarter note,
994 you can use the following:
996 \property Voice.autoBeamSettings \override
997 #'(end * * * *) = #(make-moment 1 4)
999 Since the duration of a quarter note is 1/4 of a whole note, it is
1000 entered as @code{(make-moment 1 4)}.
1002 The same syntax can be used to specify beam starting points. In this
1003 example, automatic beams can only end on a dotted quarter note.
1005 \property Voice.autoBeamSettings \override
1006 #'(end * * * *) = #(make-moment 3 8)
1008 In 4/4 time signature, this means that automatic beams could end only on
1009 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1010 3/8 has passed within the measure).
1012 You can also restrict rules to specific time signatures. A rule that
1013 should only be applied in @var{N}/@var{M} time signature is formed by
1014 replacing the second asterisks by @var{N} and @var{M}. For example, a
1015 rule for 6/8 time exclusively looks like
1017 \property Voice.autoBeamSettings \override
1018 #'(begin * * 6 8) = ...
1021 If you want a rule to apply to certain types of beams, you can use the
1022 first pair of asterisks. Beams are classified according to the shortest
1023 note they contain. For a beam ending rule that only applies to beams
1024 with 32nd notes (and no shorter notes), you would use @code{(end 1
1028 @c Automatic beams can not be put on the last note in a score.
1030 If a score ends while an automatic beam has not been ended and is still
1031 accepting notes, this last beam will not be typeset at all.
1033 @cindex automatic beam generation
1035 @cindex @code{Voice.noAutoBeaming}
1037 Automatic beaming is on by default, but can be switched off by setting
1038 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
1039 a melody that goes with lyrics.
1043 It is not possible to specify beaming parameters for beams with mixed
1044 durations, that differ from the beaming parameters of all separate
1045 durations, i.e., you'll have to specify manual beams to get:
1046 @lilypond[fragment,singleline,relative]
1047 \property Voice.autoBeamSettings
1048 \override #'(end * * * *) = #(make-moment 3 8)
1049 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1052 It is not possible to specify beaming parameters that act differently in
1053 different parts of a measure. This means that it is not possible to use
1054 automatic beaming in irregular meters such as @code{5/8}.
1057 @cindex Automatic beams
1058 @subsection Manual beams
1059 @cindex beams, manual
1063 In some cases it may be necessary to override LilyPond's automatic
1064 beaming algorithm. For example, the auto beamer will not beam over
1065 rests or bar lines, If you want that, specify the begin and end point
1066 manually using a @code{[} before the first beamed note and a @code{]}
1067 after the last note:
1069 @lilypond[fragment,relative,verbatim]
1071 r4 [r8 g' a r8] r8 [g | a] r8
1074 Whenever an manual beam is busy, the automatic beamer will not produce
1077 @cindex @code{stemLeftBeamCount}
1079 Normally, beaming patterns within a beam are determined automatically.
1080 When this mechanism fouls up, the properties
1081 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
1082 be used to control the beam subdivision on a stem. If you set either
1083 property, it's value will be used only once, and then it is erased.
1085 @lilypond[fragment,relative,verbatim]
1088 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1091 @cindex @code{stemRightBeamCount}
1093 The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
1094 context), both for automatic and manual beams) can be tweaked through
1095 grob-properties @code{height} and @code{staff-position}. These specify
1096 vertical location and vertical span. Both are measured in half
1097 staff-spaces, @code{staff-position=0} corresponds to the middle staff
1100 Set @code{height} to zero, to get horizontal beams:
1102 @lilypond[fragment,relative,verbatim]
1103 \property Voice.Beam \set #'direction = #1
1104 \property Voice.Beam \set #'height = #0
1108 Here's how you'd specify a weird looking beam that instead of being
1109 horizontal, falls two staff spaces:
1111 @lilypond[fragment,relative,verbatim]
1112 \property Voice.Beam \set #'staff-position = #4
1113 \property Voice.Beam \set #'height = #-4
1117 @c TODO -> why this ref? Document?
1118 @cindex @code{neutral-direction}
1120 @node Expressive marks
1121 @section Expressive marks
1136 A slur indicates that notes are to be played bound or @emph{legato}.
1137 They are entered using parentheses:
1139 @lilypond[fragment,verbatim,center]
1140 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1144 Slurs avoid crossing stems, and are generally attached to note heads.
1145 However, in some situations with beams, slurs may be attached to stem
1146 ends. If you want to override this layout you can do this through the
1147 grob-property @code{attachment} of @internalsref{Slur} in
1148 @internalsref{Voice} context It's value is a pair of symbols, specifying
1149 the attachment type of the left and right end points.
1151 @lilypond[fragment,relative,verbatim]
1152 \property Voice.Slur \set #'direction = #1
1153 \property Voice.Stem \set #'length = #5.5
1155 \property Voice.Slur \set #'attachment = #'(stem . stem)
1159 If a slur would strike through a stem or beam, the slur will be moved
1160 away upward or downward. If this happens, attaching the slur to the
1161 stems might look better:
1163 @lilypond[fragment,relative,verbatim]
1164 \property Voice.Stem \set #'direction = #1
1165 \property Voice.Slur \set #'direction = #1
1167 \property Voice.Slur \set #'attachment = #'(stem . stem)
1172 Similarly, the curvature of a slur is adjusted to stay clear of note
1173 heads and stems. When that would increase the curvature too much, the
1174 slur is reverted to its default shape. The threshold for this decision
1175 is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
1176 related to the enclosed area between the slur and the notes. Usually,
1177 the default setting works well, but in some cases you may prefer a
1178 curved slur when LilyPond decides for a vertically moved one. You can
1179 indicate this preference by increasing the @code{beautiful} value:
1181 @lilypond[verbatim,singleline,relative]
1182 \property Voice.Beam \override #'direction = #-1
1183 \property Voice.Slur \override #'direction = #1
1184 c16( a' f' a a f a, )c,
1185 c( a' f' a a f d, )c
1186 \property Voice.Slur \override #'beautiful = #5.0
1187 c( a' f' a a f d, )c
1192 @code{beautiful} is an arbitrary parameter in the slur formatter.
1193 Useful values can only be determined by trial and error.
1195 @cindex Adjusting slurs
1197 @node Phrasing slurs
1198 @subsection Phrasing slurs
1200 @cindex phrasing slurs
1201 @cindex phrasing marks
1203 A phrasing slur (or phrasing mark) connects chords and is used to
1204 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1207 @lilypond[fragment,verbatim,center,relative]
1208 \time 6/4 c' \( ( d ) e f ( e ) \) d
1211 Typographically, the phrasing slur behaves almost exactly like a normal
1212 slur. The grob associated with it is @internalsref{PhrasingSlur}, in
1213 @internalsref{Voice} context.
1216 @subsection Breath marks
1218 Breath marks are entered using @code{\breathe}. The result is a
1219 @internalsref{BreathingSign} grob in @internalsref{Voice} context.
1221 @lilypond[fragment,relative]
1230 The current layout of the default comma style breath marks
1231 could be improved and more optional symbols should be added to the
1240 @cindex beats per minute
1241 @cindex metronome marking
1243 Metronome settings can be entered as follows:
1245 @cindex @code{\tempo}
1247 \tempo @var{duration} = @var{perminute}
1250 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1255 The tempo setting is not printed, but is only used in the MIDI
1256 output. You can trick lily into producing a metronome mark,
1257 though. Details are in @ref{Text markup}.
1262 @subsection Text spanners
1263 @cindex Text spanners
1265 Some textual indications, e.g. rallentando or accelerando, often extend
1266 over many measures. This is indicated by following the text with a
1267 dotted line. You can create such texts using text spanners. The syntax
1270 \spanrequest \start "text"
1271 \spanrequest \stop "text"
1273 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1274 in @internalsref{Voice} context). The string to be printed, as well as the
1275 style is set through grob properties.
1277 An application---or rather, a hack---is to fake octavation indications.
1278 @lilypond[fragment,relative,verbatim]
1279 \relative c' { a''' b c a
1280 \property Voice.TextSpanner \set #'type = #'dotted-line
1281 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1282 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1283 \property Staff.centralCPosition = #-13
1284 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1302 @subsection Articulations
1303 @cindex Articulations
1305 @cindex articulations
1309 A variety of symbols can appear above and below notes to indicate
1310 different characteristics of the performance. These symbols can be
1311 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1312 are defined in @file{script.ly}. Symbols can be forced to appear above
1313 or below the note by writing `@var{note}@code{^\}@var{name}' and
1314 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1315 symbols on notes, with the name of the corresponding symbol appearing
1321 \property Score.LyricSyllable \override #'font-family =#'typewriter
1322 \property Score.LyricSyllable \override #'font-shape = #'upright
1323 \context Staff \notes {
1324 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1325 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1326 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1327 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1328 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1329 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1330 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1331 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1333 \context Lyrics \lyrics {
1334 accent__ marcato__ staccatissimo__ fermata
1335 stopped__ staccato__ tenuto__ upbow
1336 downbow__ lheel__ rheel__ ltoe
1337 rtoe__ turn__ open__ flageolet
1338 reverseturn__ trill__ prall__ mordent
1339 prallprall__ prallmordent__ uprall__ downprall
1340 upmordent__ downmordent__ pralldown__ prallup__
1341 lineprall__ thumb__ segno__ coda
1345 linewidth = 5.875\in
1351 To save typing work, some shorthands are available:
1352 @lilypond[singleline]
1354 \notes \context Voice {
1355 \property Voice.TextScript \set #'font-family = #'typewriter
1356 \property Voice.TextScript \set #'font-shape = #'upright
1362 c''4-^_"c-\\^{ }" s4
1369 Fingering instructions can also be entered in this shorthand.
1370 @lilypond[verbatim, singleline, fragment]
1371 c'4-1 c'4-2 c'4-3 c'4-4
1375 @cindex @code{\script}
1380 You can add scripts by editing @file{scm/script.scm}. This file contains
1381 a table, listing script definitions and aliases. The following syntax
1382 accesses a script definition from the table:
1388 Usually the @code{\script} keyword is not used directly. Various
1389 helpful identifier definitions appear in @file{script.ly}.
1391 Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
1395 All of these note ornaments appear in the printed output but have no
1396 effect on the MIDI rendering of the music.
1398 Unfortunately, there is no support for adding fingering instructions or
1399 ornaments to individual note heads. Some hacks exist, though. See
1400 @file{input/test/script-horizontal.ly}.
1405 @subsection Text scripts
1406 @cindex Text scripts
1408 In addition, it is possible to place arbitrary strings of text or markup
1409 text (see @ref{Text markup}) above or below notes by using a string:
1412 By default, these indications do not influence the note spacing, but
1413 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1414 into account. The identifier @code{\fatText} is defined in the standard
1416 @lilypond[fragment,singleline,verbatim]
1417 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1420 Text scripts are created in form of @internalsref{TextScript} grobs, in
1421 @internalsref{Voice} context.
1423 @ref{Text markup} describes how to change the font or access
1424 special symbols in text scripts.
1428 @subsection Grace notes
1437 @cindex @code{\grace}
1440 @cindex @code{graceAlignPosition}
1442 Grace notes are ornaments that are written out, but do not take up any
1443 logical time in a measure. LilyPond has limited support for grace notes.
1444 The syntax is as follows.
1446 \grace @var{musicexpr}
1449 Unbeamed eighth notes and shorter by default have a slash through the
1452 @lilypond[fragment,verbatim]
1454 \grace c8 c4 \grace { [c16 c16] } c4
1456 \property Voice.Stem \override #'flag-style = #'()
1458 \property Voice.Stem \revert #'flag-style
1463 A grace note expression has duration 0; the next real note is assumed to
1464 be the main note. If you want the note to appear after the main note,
1465 set @code{Voice.graceAlignPosition} to @code{1}.
1469 Nesting @code{\grace} notes is not supported. The following may cause
1470 run-time errors: @example
1471 @code{\grace @{ \grace c32 c16 @} c4}
1473 Since the meaning of such a construct is unclear, we don't consider this
1474 a loss. Similarly, juxtaposing two @code{\grace} sections is
1475 syntactically valid, but makes no sense and may cause runtime errors.
1476 Ending a staff or score with grace notes may also generate a run-time
1477 error, since there will be no main note to attach the grace notes to.
1488 @subsection Glissando
1491 @cindex @code{\glissando}
1493 A glissando line (grob @internalsref{Glissando}) can be requested by
1494 attaching a @code{\glissando} to a notte:
1496 @lilypond[fragment,relative,verbatim]
1502 Printing of an additional text (such as @emph{gliss.}) must be done
1509 @subsection Dynamics
1522 @cindex @code{\ffff}
1532 Absolute dynamic marks are specified using an identifier after a
1533 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1534 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1535 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1536 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1538 @lilypond[verbatim,singleline,fragment,relative]
1539 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1545 @cindex @code{\decr}
1546 @cindex @code{\rced}
1552 A crescendo mark is started with @code{\cr} and terminated with
1553 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1554 started with @code{\decr} and terminated with @code{\rced}. There are
1555 also shorthands for these marks. A crescendo can be started with
1556 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1557 can be terminated with @code{\!}. Note that @code{\!} must go before
1558 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1559 after the last note. Because these marks are bound to notes, if you
1560 want several marks during one note, you have to use spacer notes.
1562 @lilypond[fragment,verbatim,center]
1563 c'' \< \! c'' d'' \decr e'' \rced
1564 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1567 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1568 is an example how to do it:
1573 @lilypond[fragment,relative,verbatim]
1575 \property Voice.crescendoText = "cresc."
1576 \property Voice.crescendoSpanner = #'dashed-line
1581 For everyday use, we recommend the identifiers @code{\cresc},
1582 @code{endcresc}, @code{\dim} and @code{\enddim}.
1586 Dynamics are grobs of @internalsref{DynamicText} and
1587 @internalsref{Hairpin}. Vertical positioning of these symbols is handled
1588 by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
1589 padding or vertical direction of the dynamics, you must set properties
1590 for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
1591 to set the vertical direction are \dynamicUp and \dynamicDown.
1593 @cindex direction, of dynamics
1594 @cindex @code{\dynamicDown}
1595 @cindex @code{\dynamicUp}
1603 @cindex @code{\repeat}
1605 To specify repeats, use the @code{\repeat} keyword. Since repeats
1606 should work differently when played or printed, there are a few
1607 different variants of repeats.
1611 Repeated music is fully written (played) out. Useful for MIDI
1612 output, and entering repetitive music.
1615 This is the normal notation: Repeats are not written out, but
1616 alternative endings (voltas) are printed, left to right.
1619 Alternative endings are written stacked. This has limited use but may be
1620 used to typeset two lines of lyrics in songs with repeats, see
1621 @file{input/star-spangled-banner.ly}.
1627 Make beat or measure repeats. These look like percent signs.
1633 * Manual repeat commands::
1635 * Tremolo subdivisions::
1640 @subsection Repeat syntax
1642 The syntax for repeats is
1645 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1648 If you have alternative endings, you may add
1649 @cindex @code{\alternative}
1651 \alternative @code{@{} @var{alternative1}
1653 @var{alternative3} @dots{} @code{@}}
1655 where each @var{alternative} is a music expression.
1657 Normal notation repeats are used like this:
1658 @lilypond[fragment,verbatim]
1660 \repeat volta 2 { c'4 d' e' f' }
1661 \repeat volta 2 { f' e' d' c' }
1664 With alternative endings:
1665 @lilypond[fragment,verbatim]
1667 \repeat volta 2 {c'4 d' e' f'}
1668 \alternative { {d'2 d'} {f' f} }
1671 Folded repeats look like this:
1674 @lilypond[fragment,verbatim]
1676 \repeat fold 2 {c'4 d' e' f'}
1677 \alternative { {d'2 d'} {f' f} }
1681 If you don't give enough alternatives for all of the repeats, then
1682 the first alternative is assumed to be repeated often enough to equal
1683 the specified number of repeats.
1685 @lilypond[fragment,verbatim]
1689 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1690 \alternative { { g4 g g } { a | a a a a | b2. } }
1695 @subsection Unfolding repeats for MIDI output.
1697 @cindex expanding repeats
1699 See @file{input/test/unfold-all-repeats.ly}.
1704 Notice that timing information is not remembered at the start of an
1705 alternative, so you have to reset timing information after a repeat,
1706 e.g. using a bar-check (See @ref{Bar check}), setting
1707 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1708 are also not repeated.
1710 It is possible to nest @code{\repeat}s, although this probably is only
1711 meaningful for unfolded repeats.
1713 Folded repeats offer little more over simultaneous music. However, it
1714 is to be expected that more functionality -- especially for the MIDI
1715 backend -- will be implemented at some point in the future.
1717 Volta repeats are printed over all staves in a score. You must turn them
1718 off explicitly, for example by doing
1720 \property Staff.VoltaBracket = \turnOff
1722 in all but the top staff.
1724 @node Manual repeat commands
1725 @subsection Manual repeat commands
1727 @cindex @code{repeatCommands}
1729 The property @code{repeatCommands} can be used to control the layout of
1730 repeats. Its value is a Scheme list of repeat commands, where each repeat
1738 @item (volta . @var{text})
1739 Print a volta bracket saying @var{text}.
1741 Stop a running volta bracket
1744 @lilypond[verbatim, fragment]
1746 \property Score.repeatCommands = #'((volta "93") end-repeat)
1748 \property Score.repeatCommands = #'((volta #f))
1753 Repeats brackets are @internalsref{VoltaBracket} grobs.
1755 @node Tremolo repeats
1756 @subsection Tremolo repeats
1757 @cindex tremolo beams
1759 To place tremolo marks between notes, use @code{\repeat} with tremolo
1761 @lilypond[verbatim,center,singleline]
1763 \context Voice \notes\relative c' {
1764 \repeat "tremolo" 8 { c16 d16 }
1765 \repeat "tremolo" 4 { c16 d16 }
1766 \repeat "tremolo" 2 { c16 d16 }
1767 \repeat "tremolo" 4 c16
1772 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
1773 @internalsref{StemTremolo}.
1778 At present, the spacing between tremolo beams is not regular, since the
1779 spacing engine does not notice that not all notes are printed.
1781 @node Tremolo subdivisions
1782 @subsection Tremolo subdivisions
1783 @cindex tremolo marks
1784 @cindex @code{tremoloFlags}
1786 Tremolo marks can be printed on a single note by adding
1787 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1788 A @var{length} value of 8 gives one line across the note stem. If the
1789 length is omitted, then then the last value (stored in
1790 @code{Voice.tremoloFlags}) is used.
1792 @lilypond[verbatim,fragment,center]
1793 c'2:8 c':32 | c': c': |
1799 Tremolos in this style do not carry over into the MIDI output.
1802 @node Measure repeats
1803 @subsection Measure repeats
1805 @cindex percent repeats
1806 @cindex measure repeats
1808 In the @code{percent} style, a note pattern can be repeated. It is
1809 printed once, and then the pattern is replaced with a special sign.
1810 Patterns of a one and two measures are replaced by percent-like signs,
1811 patterns that divide the measure length are replaced by slashes.
1813 @lilypond[verbatim,singleline]
1814 \context Voice { \repeat "percent" 4 { c'4 }
1815 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1819 The signs are represented by these grobs: @internalsref{RepeatSlash} and
1820 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
1824 You can not nest percent repeats, e.g. by filling in the first measure
1825 with slashes, and repeating that measure with percents.
1827 @node Rhythmic music
1828 @section Rhythmic music
1835 @node Rhythmic staves
1836 @subsection Rhythmic staves
1838 Sometimes you might want to show only the rhythm of a melody. This can
1839 be done with the rhythmic staff. All pitches of notes on such a staff
1840 are squashed, and the staff itself looks has a single staff line:
1842 @lilypond[fragment,relative,verbatim]
1843 \context RhythmicStaff {
1845 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1852 @section Piano music
1854 Piano music is an odd type of notation. Piano staves are two normal
1855 staves coupled with a brace. The staves are largely independent, but
1856 sometimes voices can cross between the two staves. The
1857 @internalsref{PianoStaff} is especially built to handle this cross-staffing
1858 behavior. In this section we discuss the @internalsref{PianoStaff} and some
1859 other pianistic peculiarities.
1862 * Automatic staff changes::
1863 * Manual staff switches::
1866 * Voice follower lines::
1870 @c . {Automatic staff changes}
1871 @node Automatic staff changes
1872 @subsection Automatic staff changes
1873 @cindex Automatic staff changes
1875 Voices can switch automatically between the top and the bottom
1876 staff. The syntax for this is
1878 \autochange @var{contexttype} @var{musicexp}
1880 This will switch the interpretation context of @var{musicexp} between a
1881 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1882 @internalsref{Staff} for @var{contexttype}. The autochanger switches on basis
1883 of pitch (central C is the turning point), and it looks ahead skipping
1884 over rests to switch rests in advance.
1886 @lilypond[verbatim,singleline]
1887 \score { \notes \context PianoStaff <
1888 \context Staff = "up" {
1889 \autochange Staff \context Voice = VA < \relative c' {
1890 g4 a b c d r4 a g } > }
1891 \context Staff = "down" {
1897 Note how spacer rests are used to prevent the bottom staff from
1898 terminating too soon.
1901 @node Manual staff switches
1902 @subsection Manual staff switches
1904 @cindex manual staff switches
1905 @cindex staff switch, manual
1907 Voices can be switched between staves manually, using the following command:
1909 \translator Staff = @var{staffname} @var{music}
1911 The string @var{staffname} is the name of the staff. It switches the
1912 current voice from its current staff to the Staff called
1913 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1916 The formal definition of this construct is obtuse, but for the sake of
1917 completeness we give it here.
1918 @cindex @code{\translator}
1920 \translator @var{contexttype} = @var{name}
1922 Formally, this construct is a music expression indicating
1923 that the context which is a direct child of the context of type
1924 @var{contexttype} should be shifted to a context of type
1925 @var{contexttype} and the specified name.
1933 Piano pedal instruction can be expressed using
1934 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1935 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1937 These identifiers are shorthands for spanner commands of the types
1938 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
1940 @lilypond[fragment,verbatim]
1941 c''4 \spanrequest \start "Sustain" c''4
1942 c''4 \spanrequest \stop "Sustain"
1945 The symbols that are printed can be modified by setting
1946 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1947 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1953 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1959 @subsection Arpeggio
1962 @cindex broken arpeggio
1963 @cindex @code{\arpeggio}
1965 You can specify an arpeggio sign on a chord by attaching an
1966 @code{\arpeggio} to a note of the chord.
1969 @lilypond[fragment,relative,verbatim]
1970 \context Voice <c\arpeggio e g c>
1973 When an arpeggio crosses staves in piano music, you attach an arpeggio
1974 to the chords in both staves, and set
1975 @code{PianoStaff.connectArpeggios}.
1977 @lilypond[fragment,relative,verbatim]
1978 \context PianoStaff <
1979 \property PianoStaff.connectArpeggios = ##t
1980 \context Voice = one { <c'\arpeggio e g c> }
1981 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1985 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
1986 are @code{PianoStaff.Arpeggio}. @internalsref{Arpeggio}
1988 To add an arrow head to explicitly specify the direction of the
1989 arpeggio, you should set the arpeggio grob property
1990 @code{arpeggio-type}.
1992 @lilypond[fragment,relative,verbatim]
1994 \property Voice.Arpeggio \override #'arpeggio-direction = #1
1996 \property Voice.Arpeggio \override #'arpeggio-direction = #-1
2002 A square bracket on the left indicates that the player should not
2003 arpeggiate the chord.
2005 @lil ypond[fragment,relative,verbatim]
2006 \context PianoStaff <
2007 \property PianoStaff.connectArpeggios = ##t
2008 \property PianoStaff.Arpeggio \override #'arpeggio-direction = #'bracket
2009 \context Voice = one { <c'\arpeggio e g c> }
2010 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2018 It is not possible to mix connected arpeggios and unconnected arpeggios
2023 @node Voice follower lines
2024 @subsection Voice follower lines
2026 @cindex follow voice
2027 @cindex staff switching
2030 @cindex @code{followVoice}
2032 Whenever a voice switches to another staff a line connecting the notes
2033 can be printed automatically. This is enabled if the property
2034 @code{PianoStaff.followVoice} is set to true:
2036 @lilypond[fragment,relative,verbatim]
2037 \context PianoStaff <
2038 \property PianoStaff.followVoice = ##t
2039 \context Staff \context Voice {
2041 \translator Staff=two
2044 \context Staff=two {\clef bass \skip 1*2 }
2048 The associated grob is @internalsref{VoiceFollower}.
2058 * Automatic syllable durations::
2064 @subsection Lyrics mode
2067 To print lyrics, you must first make a music expression from the lyric
2068 text. That music expression can be printed by selecting an appropriate
2072 @cindex @code{\lyrics}
2074 You can enter lyrics in a special input mode of LilyPond. This mode is
2075 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
2076 The purpose of this mode is that you can enter lyrics as plain text,
2077 punctuation and accents without any hassle.
2079 Syllables are entered like notes, with pitches replaced by text. For
2080 example, @code{Twin- kle twin- kle} enters four syllables. Note that
2081 the hyphen has no special meaning for lyrics, and does not introduce
2084 Spaces can be introduced into a lyric either by using quotes:
2085 @code{"He could"4 not4} or by using an underscore without quotes:
2086 @code{He_could4 not4}. All unquoted underscores are converted to
2089 The precise definition of this mode can be found in @ref{Lyrics mode
2092 @c . {Printing lyrics}
2093 @node Printing lyrics
2094 @subsection Printing lyrics
2097 Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
2099 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
2100 @c Add tied and beamed melismata too.
2101 @lilypond[verbatim,singleline]
2103 \notes \relative c' {
2105 \property Staff.automaticMelismata = ##t
2106 d'2 c4 b16 ( a g a b a b ) c a2
2107 b2 c4 b8 ( a16 g ) a4 g2 }
2108 \context Lyrics \lyrics {
2110 share the soft -- ware; }
2114 Notes and syllable durations are matched automatically. This is
2115 accomplished using @code{\addlyrics}, which is documented in
2116 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2117 the melody staff will cause tied, slurred or beamed notes to be
2118 interpreted as melismata.
2120 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2123 @cindex lyric extender
2126 As you can see, extender lines are entered as @code{__}. This will
2127 create an extender, a line that extends over the entire duration of the
2128 lyric. This line will run all the way to the start of the next lyric,
2129 so you may want to shorten it by using a blank lyric (using @code{_}).
2130 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2135 If you want to have hyphens centered between syllables (rather than
2136 attached to the end of the first syllable) you can use the special
2137 `@code{-}@code{-}' lyric as a separate word between syllables. This
2138 will result in a hyphen whose length varies depending on the space
2139 between syllables. It will be centered between the syllables. The grob
2140 for this symbol is @code{LyricsVoice.LyricHyphen}.
2142 @cindex Lyric hyphen
2144 @node Automatic syllable durations
2145 @subsection Automatic syllable durations
2146 @cindex Automatic syllable durations
2148 @cindex automatic lyric durations
2149 @cindex @code{\addlyrics}
2151 If you have lyrics that are set to a melody, you can copy the rhythm
2152 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2155 \addlyrics @var{musicexpr1 musicexpr2}
2158 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2159 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2160 when there are events in @var{musicexpr1}.
2162 @cindex @code{automaticMelismata}
2164 If the property @code{automaticMelismata} is set in the
2165 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2168 @lilypond[verbatim,fragment]
2171 \property Voice.automaticMelismata = ##t
2172 c8 () cis d8. e16 f2
2174 \context Lyrics \lyrics {
2178 If you want the lyric lines to be above the melody staff, or in some
2179 other, more complex configuration, then build that configuration first
2180 using simultaneous music, and use @code{\addlyrics} after that.
2182 @lilypond[verbatim, singleline]
2184 \context Lyrics = LA { s1 }
2185 \context Staff = SA { s1 }
2187 \context Staff = SA \relative c' { c4 e g g }
2188 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2191 For @code{\addlyrics} you should use a single rhythm melody, and single
2192 rhythm lyrics (a constant duration is the obvious choice). If you do
2193 not, you can get undesired effects when using multiple stanzas:
2195 @lilypond[verbatim,fragment]
2198 c8 () cis d8. e16 f2
2200 \context Lyrics \lyrics
2205 It is valid (but probably not very useful) to use notes instead of
2206 lyrics for @var{musicexpr2}.
2209 @subsection More stanzas
2213 If you have multiple stanzas printed underneath each other, the vertical
2214 groups of syllables should be aligned around punctuation. LilyPond can
2215 do this if you tell it which lyric lines belong to which melody.
2217 To this end, give the Voice context an identity, and set the LyricsVoice
2218 to a name starting with that identity followed by a dash.
2219 In the following example, the Voice
2220 identity is @code{duet}, and the identities of the LyricsVoices are
2221 @code{duet-1} and @code{duet-2}.
2224 @lilypond[singleline,verbatim]
2227 \notes \relative c'' \context Voice = duet { \time 3/4
2229 \lyrics \context Lyrics <
2230 \context LyricsVoice = "duet-1" {
2231 \property LyricsVoice . stanza = "Bert"
2232 Hi, my name is bert. }
2233 \context LyricsVoice = "duet-2" {
2234 \property LyricsVoice . stanza = "Ernie"
2235 Ooooo, ch\'e -- ri, je t'aime. }
2240 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2241 first system) and @code{LyricsVoice.stz} for the following
2242 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2248 @cindex stanza numbering
2256 LilyPond has support for both entering and printing chords. Chords are
2257 characterized by a set of pitches. They are
2258 internally stored as simultaneous music expressions. This means you can
2259 enter chords by name and print them as note head, enter them as notes
2260 and print them as chord names, or (the most common case) enter them by
2261 name, and print them as name.
2264 @lilypond[verbatim,singleline]
2265 twoWays = \notes \transpose c'' {
2275 < \context ChordNames \twoWays
2276 \context Voice \twoWays > }
2279 Note that this example also shows that the chord printing routines do
2280 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2281 interpret this as an inversion.
2285 * Printing named chords::
2290 @subsection Chords mode
2293 Chord mode is a mode where you can input sets of pitches using common
2294 names. It is introduced by the keyword @code{\chords}. It is similar
2295 to note mode, but words are also looked up in a chord modifier table
2296 (containing @code{maj}, @code{dim}, etc).
2298 Dashes and carets are used to indicate chord additions and subtractions,
2299 so articulation scripts can not be entered in Chord mode.
2301 The syntax for named chords is as follows:
2303 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2306 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2307 the chord duration in the usual notation. There are two kinds of
2308 modifiers. One type is formed by @emph{chord additions}. Additions are
2309 obtained by listing intervals separated by dots. An interval is written
2310 by its number with an optional @code{+} or @code{-} to indicate raising
2311 or lowering by half a step. Chord additions have two effects: they adds
2312 the specified interval and all lower odd numbered intervals to the
2313 chord, and they may lower or raise the specified interval.
2315 Throughout these examples, chords have been shifted around the staff
2316 using @code{\transpose}.
2318 @lilypond[fragment,verbatim]
2322 c:9 c:9-.5+.7+ c:3-.5-
2332 The second type of modifier that may appear after the @code{:} is a
2333 named modifier. Named modifiers are listed in the file
2334 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2335 @code{min} which lower the 3rd half a step, `@code{aug}' which
2336 raises the 5th, `@code{dim}' which lowers the 5th,
2337 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2338 which replaces the 5th with a 4th.
2340 @lilypond[fragment,verbatim]
2343 c1:m c:min7 c:maj c:aug c:dim c:sus
2349 Chord subtractions are used to eliminate notes from a chord. The
2350 notes to be subtracted are listed after a @code{^} character,
2353 @lilypond[fragment,verbatim,center]
2362 Chord inversions can be specified by appending `@code{/}' and the name
2363 of a single note to a chord. In a chord inversion, the inverted note is
2364 transposed down until it is the lowest note in the chord. If the note
2365 is not in the chord, a warning will be printed.
2367 @lilypond[fragment,verbatim,center]
2377 Bass notes can be added by `@code{/+}' and
2378 the name of a single note to a chord. This has the effect of
2379 adding the specified note to the chord, lowered by an octave,
2380 so it becomes the lowest note in the chord.
2382 @lilypond[fragment,verbatim,center]
2393 Implementation details are quite gory. For example @code{c:4} not only
2394 adds a fourth, but also removes the third.
2397 @c . {Printing named chords}
2398 @node Printing named chords
2399 @subsection Printing named chords
2401 @cindex printing chord names
2405 For displaying printed chord names, use the @internalsref{ChordNames} context.
2406 The chords may be entered either using the notation described above, or
2407 directly using simultaneous music.
2409 @lilypond[verbatim,singleline]
2411 \chords {a1 b c} <d f g> <e g b>
2415 \context ChordNames \scheme
2416 \context Staff \transpose c'' \scheme
2421 You can make the chord changes stand out by setting
2422 @code{ChordNames.chordChanges} to true. This will only display chord
2423 names when there's a change in the chords scheme and at the start of a
2428 c1:m c:m \break c:m c:m d
2432 \context ChordNames {
2433 \property ChordNames.chordChanges = ##t
2435 \context Staff \transpose c'' \scheme
2439 LilyPond examines chords specified as lists of notes to determine a name
2440 to give the chord. LilyPond will not try to identify chord inversions or
2441 an added bass note, which may result in strange chord names when chords
2442 are entered as a list of pitches:
2444 @lilypond[verbatim,center,singleline]
2453 \context ChordNames \scheme
2454 \context Staff \scheme
2460 By default, a chord name system proposed by Harald Banter (See
2461 @ref{Literature}) is used. The system is very regular and predictable.
2462 Typical American style chord names may be selected by setting the
2463 @code{style} property of the @code{ChordNames.ChordName} grob to
2464 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2466 Routines that determine the names to be printed are written in Scheme,
2467 and may be customized by the user. The code can be found in
2468 @file{scm/chord-name.scm}. Here's an example showing the differences in
2472 @c maybe just junk verbatim option?
2473 @lilypond[verbatim,singleline]
2483 \context ChordNames = banter \scheme
2484 \context ChordNames = american {
2485 \property ChordNames.ChordName \override
2486 #'style = #'american \scheme }
2487 \context ChordNames = jazz {
2488 \property ChordNames.ChordName \override
2489 #'style = #'jazz \scheme }
2490 \context Staff \transpose c'' \scheme
2497 @section Writing parts
2499 Orchestral music involves some special notation, both in the full score,
2500 as in the individual parts. This section explains how to tackle common
2501 problems in orchestral music.
2508 * Instrument names::
2510 * Sound output for transposing instruments::
2511 * Multi measure rests::
2512 * Automatic part combining::
2513 * Hara kiri staves::
2516 @c . {Rehearsal marks}
2517 @node Rehearsal marks
2518 @subsection Rehearsal marks
2519 @cindex Rehearsal marks
2521 @cindex @code{\mark}
2525 \mark @var{unsigned}
2530 This command prints a rehearsal mark above the system. You can provide
2531 a number, a string or a markup text as argument. If you use
2532 @code{\default}, the value of property @code{rehearsalMark} is used and
2533 automatically incremented.
2535 @lilypond[fragment,verbatim]
2541 c1 \mark #'(music "scripts-segno")
2546 The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
2547 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2550 @subsection Bar numbers
2554 @cindex measure numbers
2555 @cindex currentBarNumber
2557 Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
2558 start of the line. The number itself is a property that can be set by
2559 modifying the @code{currentBarNumber} property, i.e.
2561 \property Score.currentBarNumber = #217
2564 If you want boxed bar numbers, see the example file
2565 @code{input/test/boxed-molecule.ly}.
2569 It is not possible to have bar numbers printed at regular intervals
2572 @node Instrument names
2573 @subsection Instrument names
2575 You can specify an instrument name for a staff by setting
2576 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2577 before the start of the staff. For the first start, @code{instrument} is
2578 used, for the next ones @code{instr} is used.
2580 @lilypond[verbatim,singleline]
2581 \property Staff.instrument = "ploink " { c''4 }
2584 You can also use markup texts to construct more complicated instrument
2588 @lilypond[verbatim,singleline]
2590 '((font-relative-size . -2 ) (music "accidentals--1")))
2593 \property Staff.instrument = #`((kern . 0.5) (lines
2594 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2602 When you put a name on a grand staff or piano staff the width of the
2603 brace is not taken into account. You must add extra spaces to the end of
2604 the name to avoid a collision.
2607 @subsection Transpose
2609 @cindex transposition of pitches
2610 @cindex @code{\transpose}
2612 A music expression can be transposed with @code{\transpose}. The syntax
2615 \transpose @var{pitch} @var{musicexpr}
2618 This means that middle C in @var{musicexpr} is transposed to
2621 @code{\transpose} distinguishes between enharmonic pitches: both
2622 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2623 a tone. The first version will print sharps and the second version
2626 @lilypond[fragment,verbatim]
2629 { \key e \major c d e f }
2631 \transpose des'' { \key e \major c d e f }
2632 \transpose cis'' { \key e \major c d e f }
2636 If you want to use both @code{\transpose} and @code{\relative}, then
2637 you must use @code{\transpose} first. @code{\relative} will have no
2638 effect music that appears inside a @code{\transpose}.
2640 @node Sound output for transposing instruments
2641 @subsection Sound output transposing instruments
2643 When you want to make a MIDI file from a score containing transposed and
2645 instruments, you have to instruct LilyPond the pitch offset (in
2646 semitones) for the transposed instruments. This is done using the
2647 @code{transposing} property. It does not affect printed output.
2649 @cindex @code{transposing}
2652 \property Staff.instrument = #"Cl. in B-flat"
2653 \property Staff.transposing = #-2
2656 @c . {Multi measure rests}
2657 @node Multi measure rests
2658 @subsection Multi measure rests
2659 @cindex Multi measure rests
2663 Multi measure rests are entered using `@code{R}'. It is specifically
2664 meant for full bar rests and for entering parts: the rest can expand to
2666 rests, or it can be printed as a single multimeasure rest This expansion
2667 is controlled by the property @code{Score.skipBars}. If this is set to true,
2668 Lily will not expand empty measures, and the appropriate number is added
2671 @lilypond[fragment,verbatim]
2672 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2675 Notice that the @code{R2.} is printed as a whole rest, centered in the
2678 @cindex whole rests for a full measure
2680 The grob for this object is @internalsref{MultiMeasureRest}.
2684 Currently, there is no way to automatically condense multiple rests into
2685 a single multimeasure rest.
2687 @cindex condensing rests
2689 @node Automatic part combining
2690 @subsection Automatic part combining
2691 @cindex automatic part combining
2692 @cindex part combiner
2695 Automatic part combining is used to merge two parts of music onto a
2696 staff in an intelligent way. It is aimed primarily at typesetting
2697 orchestral scores. When the two parts are identical for a period of
2698 time, only one is shown. In places where the two parts differ, they are
2699 typeset as separate voices, and stem directions are set automatically.
2700 Also, solo and @emph{a due} parts can be identified and marked.
2702 The syntax for part combining is
2705 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2707 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2708 combined into one context of type @var{context}. The music expressions
2709 must be interpreted by contexts whose names should start with @code{one}
2712 The most useful function of the part combiner is to combine parts into
2713 one voice, as common for wind parts in orchestral scores:
2715 @lilypond[verbatim,singleline,fragment]
2717 \context Voice=one \partcombine Voice
2718 \context Thread=one \relative c'' {
2721 \context Thread=two \relative c'' {
2727 Notice that the first @code{g} appears only once, although it was
2728 specified twice (once in each part). Stem, slur and tie directions are
2729 set automatically, depending whether there is a solo or unisono. The
2730 first part (with context called @code{one}) always gets up stems, and
2731 `solo', while the second (called @code{two}) always gets down stems and
2734 If you just want the merging parts, and not the textual markings, you
2735 may set the property @var{soloADue} to false.
2737 @lilypond[verbatim,singleline,fragment]
2739 \property Staff.soloADue = ##f
2740 \context Voice=one \partcombine Voice
2741 \context Thread=one \relative c'' {
2744 \context Thread=two \relative c'' {
2750 There are a number of other properties that you can use to tweak the
2751 behavior of part combining, refer to the automatically generated
2752 documentation of @reng{Thread_devnull_engraver} and
2753 @reng{Voice_devnull_engraver}. Look at the documentation of the
2754 responsible engravers, @code{Thread_devnull_engraver},
2755 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2759 In @code{soloADue} mode, when the two voices play the same notes on and
2760 off, the part combiner may typeset @code{a2} more than once in a
2763 @lilypond[fragment,singleline]
2765 \context Voice=one \partcombine Voice
2766 \context Thread=one \relative c'' {
2769 \context Thread=two \relative c'' {
2775 @cindex @code{Thread_devnull_engraver}
2776 @cindex @code{Voice_engraver}
2777 @cindex @code{A2_engraver}
2779 @node Hara kiri staves
2780 @subsection Hara kiri staves
2782 In orchestral scores, staff lines that only have rests are usually removed.
2783 This saves some space. LilyPond also supports this through the hara
2784 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2785 the Japanese Samourai warriors.} staff. This staff commits suicide when
2786 it finds itself to be empty after the line-breaking process. It will
2787 not disappear when it contains normal rests, you must use multi measure
2790 The hara kiri staff is specialized version of the @internalsref{Staff}
2791 context. It is available as the context identifier
2792 @code{\HaraKiriStaffContext}. Observe how the second staff in this
2793 example disappears in the second line.
2797 \notes \relative c' <
2798 \context Staff = SA { e4 f g a \break c1 }
2799 \context Staff = SB { c4 d e f \break R1 }
2803 \translator { \HaraKiriStaffContext }
2816 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2817 staff context symbol that appears at the end of a staff line. It
2818 anticipates the pitch of the first note(s) of the following line and
2819 thus helps the player or singer to manage line breaks during
2820 performance, thus enhancing readability of a score.
2825 \property Staff.Custos \set #'style = #'mensural
2830 \consists Custos_engraver
2836 Custodes were frequently used in music notation until the 17th century.
2837 There were different appearances for different notation styles.
2838 Nowadays, they have survived only in special forms of musical notation
2839 such as via the @emph{editio vaticana} dating back to the beginning of
2842 For typesetting custodes, just put a @code{Custos_engraver} into the
2843 @internalsref{Staff} context when declaring the @code{\paper} block. In this
2844 block, you can also globally control the appearance of the custos symbol
2845 by setting the custos @code{style} property. Currently supported styles
2846 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2853 \consists Custos_engraver
2854 Custos \override #'style = #'mensural
2859 The property can also be set locally, for example in a @code{\notes}
2864 \property Staff.Custos \override #'style = #'vaticana
2865 c'1 d' e' d' \break c' d' e' d'
2872 @section Figured bass
2874 @cindex Basso continuo
2876 Figured bass is printed by @internalsref{FiguredBass} context. This
2877 context will print notes (relative to the central C) as figures. To
2878 ease entering these notes, the special @code{\figures} mode is
2879 available which allows you to type numbers, like @code{<4 6+>}.
2881 @lilypond[verbatim,fragment]
2882 < \context FiguredBass \transpose c'' {
2887 <1 3 5>4 <3- 5+ 6!> <5>
2895 @c . {Tuning output}
2897 @section Tuning output
2899 LilyPond tries to take as much formatting as possible out of your
2900 hands. Nevertheless, there are situations where it needs some help, or
2901 where you want to override its decisions. In this section we discuss
2902 ways to do just that.
2904 Formatting is internally done by manipulating so called grobs (graphic
2905 objects). Each grob carries with it a set of properties (grob
2906 properties) specific to that object. For example, a stem grob has
2907 properties that specify its direction, length and thickness.
2909 The most direct way of tuning the output is by altering the values of
2910 these properties. There are two ways of doing that: first, you can
2911 temporarily change the definition of a certain type of grob, thus
2912 affecting a whole set of objects. Second, you can select one specific
2913 object, and set a grob property in that object.
2916 * Tuning groups of grobs ::
2917 * Tuning per grob ::
2925 @node Tuning groups of grobs
2926 @subsection Tuning groups of grobs
2928 @cindex grob description
2932 A grob definition is a Scheme association list, that is stored in a
2933 context property. By assigning to that property (using plain
2934 @code{\property}), you can change the resulting grobs.
2936 @lilypond[verbatim, fragment]
2937 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2940 The @code{\property} assignment effectively empties the definition of
2941 the Stem object. One of the effects is that the recipe of how it should be
2942 printed is erased, with the effect of rendering it invisible. The above
2943 assignment is available as a standard identifier, for the case that you
2947 \property Voice.Stem = \turnOff
2954 This mechanism is fairly crude, since you can only set, but not modify,
2955 the definition of a grob. For this reason, there is a more advanced
2958 The definition of a grob is actually a list of default grob
2959 properties. For example, the definition of the Stem grob (available in
2960 @file{scm/grob-description.scm}), defines the following values for
2965 (beamed-lengths . (0.0 2.5 2.0 1.5))
2966 (Y-extent-callback . ,Stem::height)
2970 You can add a property on top of the existing definition, or remove a
2971 property, thus overriding the system defaults:
2973 c'4 \property Voice.Stem \override #'thickness = #4.0
2974 c'4 \property Voice.Stem \revert #'thickness
2977 You should balance @code{\override} and @code{\revert}. If that's too
2978 much work, you can use the @code{\set} shorthand. It performs a revert
2979 followed by an override. The following example gives exactly the same
2980 result as the previous one.
2982 c'4 \property Voice.Stem \set #'thickness = #4.0
2983 c'4 \property Voice.Stem \set #'thickness = #0.8
2986 If you use @code{\set}, you must explicitly restore the default.
2989 Formally the syntax for these constructions is
2991 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2992 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2993 \property @var{context}.@var{grobname} \revert @var{symbol}
2995 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2996 and @var{grobname} are strings and @var{value} is a Scheme expression.
2999 If you revert a setting which was not set in the first place, then it
3000 has no effect. However, if the setting was set as a system default, it
3001 may remove the default value, and this may give surprising results,
3002 including crashes. In other words, @code{\override} and @code{\revert},
3003 must be carefully balanced.
3005 These are examples of correct nesting of @code{\override}, @code{\set},
3008 A clumsy but correct form:
3010 \override \revert \override \revert \override \revert
3013 Shorter version of the same:
3015 \override \set \set \revert
3018 A short form, using only @code{\set}. This requires you to know the
3021 \set \set \set \set @var{to default value}
3024 If there is no default (i.e. by default, the grob property is unset),
3027 \set \set \set \revert
3030 For the digirati, the grob description is an Scheme association
3031 list. Since a Scheme list is a singly linked list, we can treat it as a
3032 stack, and @code{\override} and @code{\revert} are just push and pop
3033 operations. This pushing and popping is also used for overriding
3034 automatic beaming settings.
3038 LilyPond will hang or crash if @var{value} contains cyclic references.
3039 The backend is not very strict in type-checking grob properties. If you
3040 @code{\revert} properties that are expected to be set by default,
3043 Some grobs are created at the moment that their context is created. An
3044 example of such a grob is the staff itself (i.e. the horizontal lines).
3045 You can not change the appearance of the staff symbol by manipulating
3046 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3047 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3048 created before any @code{\override} is effective. You can deal with this
3049 either overriding properties in a @code{\translator} definition, or by
3050 using @code{\outputproperty}.
3055 @node Tuning per grob
3056 @subsection Tuning per grob
3058 @cindex \outputproperty
3060 A second way of tuning grobs is the more arcane @code{\outputproperty}
3061 feature. The syntax is as follows:
3063 \outputproperty @var{predicate} @var{symbol} = @var{value}
3065 Here @code{predicate} is a Scheme function taking a grob argument, and
3066 returning a boolean. This statement is processed by the
3067 @code{Output_property_engraver}. It instructs the engraver to feed all
3068 grobs that it sees to @var{predicate}. Whenever the predicate returns
3069 true, the grob property @var{symbol} will be set to @var{value}.
3071 You will need to combine this statement with @code{\context} to select
3072 the appropriate context to apply this to.
3074 Here are some random examples.
3077 In the following example, all note heads occurring at current staff
3078 level, are shifted up and right by setting their @code{extra-offset}
3081 @lilypond[fragment,verbatim,singleline]
3083 \context Staff \outputproperty
3084 #(make-type-checker 'note-head-interface)
3085 #'extra-offset = #'(0.5 . 0.75)
3089 @cindex @code{extra-offset}
3091 In this example, the predicate checks the @code{text} grob property, to
3092 shift only the `m.d.' text, but not the fingering instruction "2".
3093 @lilypond[verbatim,singleline]
3094 #(define (make-text-checker text)
3095 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3098 \notes\relative c''' {
3099 \property Voice.Stem \set #'direction = #1
3100 \outputproperty #(make-text-checker "m.d.")
3101 #'extra-offset = #'(-3.5 . -4.5)
3109 If possible, avoid this feature: the semantics are not very clean, and
3110 the syntax and semantics are up for rewrite.
3116 @subsection What to tune?
3118 This all tells you how to tune grobs, but you don't know what variables
3119 to set? The question is not answered in this part of the manual
3120 (although you may encounter some examples.).
3122 Grob properties are tied directly to the implementation of LilyPond, and
3123 they are thus a moving target. Documentation of such variables is in the
3124 automatically generated documentation. Description of properties are
3125 generated from the source code for each version. This documentation is
3126 therefore more up to date. It should be available from the same place
3127 where you got this manual.
3129 To decide how to tune a grob, you need to find the following information
3132 which grob to modify
3134 which property to modify
3136 which context the grob comes from.
3139 Included with the automatically generated documentation is a master list
3140 of grobs. Selecting a grob will take you to an overview of the
3141 properties available for that grob.
3143 There is also a master list of contexts. Selecting one takes you to an
3144 overview of that context which lists which grob types are created there.
3147 @node Font selection
3148 @subsection Font selection
3150 Most graphics in LilyPond are composed of characters of fonts. You can
3151 alter the characteristics of the font by setting certain grob
3152 properties. The mechanism that is used for this resembles La@TeX{}'s New
3153 Font Selection Scheme. Within this scheme, a font is entirely
3154 characterized by its font name.
3156 For each grob that uses fonts (in other words, each grob that supports
3157 @code{font-interface}) a font-name must be selected before it can be
3158 printed. The font name is selected by looking at a number of grob
3163 A symbol indicating the general class of the typeface. Supported are
3164 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3165 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3166 signs) and @code{typewriter}
3169 A symbol indicating the shape of the font, there are typically several
3170 font shapes available for each font family. Choices are @code{italic},
3171 @code{caps} and @code{upright}
3174 A symbol indicating the series of the font. There are typically several
3175 font series for each font family and shape. Choices are @code{medium}
3178 @item font-relative-size
3179 A number indicating the size relative the standard size. For example,
3180 with 20pt staff height, relative size -1 corresponds to 16pt staff
3181 height, and relative size +1 corresponds to 23 pt staff height.
3183 @item font-design-size
3184 A number indicating the design size of the font.
3186 This is a feature of the Computer Modern Font: each point size has a
3187 slightly different design. Smaller design sizes are relatively wider,
3188 which enhances readability. Scalable type faces such TrueType and Adobe
3189 Type1 usually come as ``one design fits all sizes''.
3192 The name of the font, without the design size, e.g. @code{cmr},
3193 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3200 The font is selected by taking the first font that satisfies all
3201 qualifiers specified. You can override any of these fields through
3202 @code{\override} and @code{\revert}. The special value @code{*} matches
3203 any value for that qualifier.
3206 \property Lyrics.LyricText \override #'font-series = #'bold
3207 \property Lyrics.LyricText \override #'font-shape = #'*
3210 @cindex @code{font-style}
3212 There are also pre-cooked font selection qualifiers. These are selected
3213 through the grob property @code{font-style}. For example, the style
3214 @code{finger} selects family @code{number} and relative size @code{-3}.
3215 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3216 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3219 The style sheets and tables for selecting fonts are located in
3220 @file{scm/font.scm}. Refer to this file for more information.
3223 Setting @code{font-name} overrides all other qualifiers. The value for
3224 this property should be a string, the file name of the font. You may use
3225 this to use special fonts, which are not a part of the style sheet, or
3226 which have special encodings.
3228 The size of the font may be set with the grob property
3229 @code{font-magnification}. It is the size of font, relative to its
3230 standard size. For example, @code{1.0} is normal size.
3234 Relative size is not linked to any real size.
3236 There is no style sheet provided for other fonts besides the @TeX{}
3239 @cindex font selection
3240 @cindex font magnification
3241 @cindex @code{font-interface}
3245 @subsection Text markup
3249 LilyPond has an internal mechanism to typeset texts. You can
3250 form text markup expressions by composing scheme expressions
3251 in the following way.
3253 @lilypond[verbatim, singleline]
3258 c^#'(italic "italic")
3259 d_#'((bold italic) "ff")
3261 f_#'(lines "one" (bold "two"))
3262 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3266 Normally, the Scheme markup text is stored in the @code{text} property
3267 of a grob. Formally, it is defined as follows:
3270 text: string | (head? text+)
3271 head: markup | (markup+)
3272 markup-item: property | abbrev
3273 property: (@var{key} . @var{value})
3274 abbrev: @code{columns lines roman music bold italic named super sub}
3275 @code{overstrike text finger volta timesig mmrest mark script}
3276 @code{large Large dynamic}
3279 The markup is broken down and converted into a list of grob properties,
3280 which are prepended to the property list. The @var{key}-@var{value}
3281 pair is a grob property. A list of properties available is included in
3282 the generated documentation for @rint{Text_interface}.
3284 The following abbreviations are currently defined:
3287 horizontal mode: set all text on one line (default)
3289 vertical mode: set every text on a new line
3293 selects the Feta font (the standard font for music notation glyphs),
3294 and uses named lookup
3301 lookup by character name
3303 plain text lookup (by character value)
3309 the next text or character overstrikes this one
3311 select fingering number fontstyle
3313 select volta number fontstyle
3315 select time signature number fontstyle
3317 select multi measure rest number fontstyle
3319 select mark number fontstyle
3321 select scriptsize roman fontstyle
3323 select large roman fontstyle
3325 select Large roman fontstyle
3327 select dynamics fontstyle
3331 @cindex metronome mark
3333 One practical application of complicated markup is to fake a metronome
3337 #(define note '(columns
3338 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3339 #(define eight-note `(columns ,note ((kern . -0.1)
3340 (music ((raise . 3.5) "flags-u3")))))
3341 #(define dotted-eight-note
3342 `(columns ,eight-note (music "dots-dot")))
3345 \notes\relative c'' {
3346 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3352 TextScript \override #'font-shape = #'upright
3358 @node Invisible grobs
3359 @subsection Invisible grobs
3360 @cindex invisible grobs
3364 ben nog steeds niet kapot van de informatiedichtheid hier.
3370 You can imagine a number of situations where you would want to make
3371 certain grobs not show up in the output. There may be aesthetic
3372 reasons, to make the output resemble an (old) manuscript as close as
3373 possible, or to make lessons or exercises for students.
3375 Grobs can be made invisible in a number of ways:
3377 Here's an example with blanked-out notes and stems:
3378 @lilypond[singleline,verbatim]
3380 \property Voice.NoteHead \override
3382 \property Voice.Stem \override
3383 #'transparent = ##t }
3386 \property Voice.NoteHead \revert #'transparent
3387 \property Voice.Stem \revert #'transparent }
3390 \notes\relative c'' {
3392 a b c b \blanknotes c \unblanknotes d
3396 This method makes the grobs invisible but they still take the normal space.
3397 To remove all traces of the grob, you can redefine the function
3401 \notes\relative c'' {
3404 as bes c bes c d \break
3405 \property Staff.KeySignature \override #'molecule-callback = #'()
3408 \paper{linewidth=5.0\cm indent=0}
3412 A very rigorous way of removing grobs from the whole score is to remove
3413 the engraver that creates them. For example,
3415 @lilypond[singleline,verbatim]
3416 \score {\notes { c'4 d'8 e'8 g2 }
3417 \paper { \translator {
3419 \remove Stem_engraver
3425 @subsection Dirty tricks
3426 @cindex embedded tex
3428 It is possible to use @TeX{} commands in the strings, but this should be
3429 avoided because it makes it impossible for LilyPond to compute the
3430 exact length of the string, which may lead to collisions. Also, @TeX{}
3431 commands won't work with direct PostScript output (see @ref{PostScript
3434 @lilypond[fragment,relative,verbatim]
3435 a'^"3 $\\times$ \\`a deux"
3438 You can also use raw PostScript commands embedded in text scripts. This
3439 offers ultimate flexibility, but requires you to learn PostScript.
3440 Currently, embedded PostScript will @strong{not} work with direct
3441 PostScript output. Note that all dimensions that you use are in staff
3446 \notes \relative c'' {
3447 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3448 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3449 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3453 \paper { linewidth = 70*\staffspace }
3460 @section Page layout
3463 The page layout is the combined product of LilyPond formatting notation,
3464 and (La)@TeX{} putting the notation on a page, including page breaks.
3465 The part of LilyPond is documented here.
3479 @subsection Paper block
3482 The most important output definition is the @code{\paper} block, for
3483 music notation. The syntax is
3486 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3489 where each of the items is one of
3492 @item An assignment.
3494 @item A context definition. See @ref{Interpretation context} for
3495 more information on context definitions.
3497 @item \stylesheet declaration. Its syntax is
3499 \stylesheet @var{alist}
3502 See @file{scm/font.scm} for details of @var{alist}.
3503 @item an @code{\elementdescriptions} declaration.
3505 \elementdescriptions @var{alist}
3507 See @file{scm/grob-description.scm} for details of
3508 @var{alist}. This command is not user-serviceable.
3512 @c . {Paper variables}
3513 @node Paper variables
3514 @subsection Paper variables
3515 @cindex Paper variables
3517 The paper block has some variables you may want to use or change:
3520 @cindex @code{indent}
3522 The indentation of the first line of music.
3523 @cindex @code{staffspace}
3525 @item @code{staffspace}
3526 The distance between two staff lines, calculated from the center
3529 @cindex @code{linewidth}
3530 @item @code{linewidth}
3531 Sets the width of the lines.
3533 If set to a negative value, a single unjustified line is produced.
3534 @c rename to singleLinePaper ?
3535 The shorthand @code{\singleLine} defines a default paper block that
3536 produces a single line.
3538 @cindex @code{textheight}
3540 @item @code{textheight}
3541 Sets the total height of the music on each page. Only used by
3544 @cindex @code{interscoreline}
3546 @item @code{interscoreline}
3547 Sets the spacing between systems. The default is 16pt.
3549 @cindex @code{interscorelinefill}
3551 @item @code{interscorelinefill}
3552 If set to a positive number, the distance between the score
3553 lines will stretch in order to fill the full page. In that
3554 case @code{interscoreline} specifies the minimum spacing.
3559 @cindex @code{stafflinethickness}
3561 @item @code{stafflinethickness}
3562 Determines the thickness of staff lines, and also acts as a scaling
3563 parameter for other line thicknesses.
3566 You may enter these dimension using units (@code{cm}, @code{in},
3567 @code{mm}, @code{pt}), or relative to another dimension
3569 linewidth = 20.0 * \staffspace
3576 @subsection Font size
3579 The Feta font provides musical symbols at six different sizes. These
3580 fonts are 11 point, 13 point, 16 point, 20 point,
3581 23 point, and 26 point. The point size of a font is the
3582 height of the five lines in a staff when displayed in the font.
3584 Definitions for these sizes are the files @file{paperSZ.ly}, where
3585 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3586 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3587 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3588 @code{paperTwentysix} are defined respectively. The default
3589 @code{\paper} block is also set.
3591 The font definitions are generated using a Scheme function. For more
3592 details, see the file @file{scm/font.scm}.
3598 @subsection Paper size
3603 @cindex @code{papersize}
3605 To change the paper size, you must first set the
3606 @code{papersize} paper variable variable. Set it to
3607 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3608 specification, you must set the font as described above. If you want
3609 the default font, then use the 20 point font.
3612 \paper@{ papersize = "a4" @}
3613 \include "paper16.ly"
3616 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3617 will set the paper variables @code{hsize} and @code{vsize} (used by
3618 Lilypond and @code{ly2dvi})
3622 @subsection Line break
3625 @cindex breaking lines
3627 Line breaks are normally computed automatically. They are chosen such
3628 that the resulting spacing has low variation, and looks neither cramped
3631 Occasionally you might want to override the automatic breaks; you can do
3632 this by specifying @code{\break}. This will force a line break at this
3633 point. Do remember that line breaks can only occur at places where there
3634 are bar lines. If you want to have a line break where there is no
3635 bar line, you can force an invisible bar line by entering @code{\bar
3636 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3638 @cindex @code{\penalty}
3640 The @code{\break} and @code{\noBreak} commands are defined in terms of
3641 the penalty command:
3646 This encourages or discourages LilyPond to make a line break at this
3651 The scaling of the @code{\penalty} argument is not well-defined. The
3652 command is rather kludgey, and slated for rewriting.
3656 @subsection Page break
3659 @cindex breaking pages
3661 Page breaks are normally computed by @TeX{}, so they are not under
3662 direct control of LilyPond. However, you can insert a commands into the
3663 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3664 the command @code{\newpage}
3665 @cindex @code{\newpage}
3671 @c why do so difficult?
3672 @c maybe should explain contents of between-system.ly,
3673 @c but not now, we're talking about page breaks here.
3675 @c details, see the example file @file{input/test/between-systems.ly}
3678 @c . {Output scaling}
3679 @node Output scaling
3680 @subsection Output scaling
3695 There is no mechanism to select magnification of particular fonts,
3696 meaning that you don't have access to continuously scaled fonts.
3700 @c . {Output formats}
3701 @node Output formats
3702 @section Output formats
3704 LilyPond can output processed music in different output formats.
3708 * PostScript output::
3710 * ASCIIScript output::
3714 @subsection TeX output
3717 LilyPond will use @TeX{} by default. Even if you want to produce
3718 PostScript output for viewing or printing, you should normally have
3719 LilyPond produce @TeX{} first. The .tex output must be processed by
3720 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3721 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3722 used to generate the .dvi for you.
3726 Titling is not generated unless you use @file{ly2dvi}.
3729 @node PostScript output
3730 @subsection PostScript output
3731 @cindex PostScript output
3732 @cindex direct PostScript output
3734 LilyPond can produce PostScript directly, without going through @TeX{}.
3735 Currently, this is mainly useful if you cannot use TeX, because direct
3736 PostScript output has some problems; see Bugs below.
3739 $ lilypond -fps foo.ly
3740 GNU LilyPond 1.3.144
3741 Now processing: `foo.ly'
3743 Interpreting music...[3]
3744 Preprocessing elements...
3745 Calculating column positions...
3746 paper output to foo.ps...
3748 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3754 Text font selection is broken.
3756 The .ps file does not contain the .pfa font files. To print a .ps
3757 created through direct postscript output, you should prepend the
3758 necessary .pfa files to LilyPond's .ps output, or upload them to the
3759 printer before printing.
3761 The line height calculation is broken, you must set @var{lineheight} in
3762 the paperblock if you have more than one staff in your score, e.g.
3767 % Set line height to 40 staff spaces
3773 @subsection Scheme output
3774 @cindex Scheme output
3776 In the typesetting stage, LilyPond builds a page description, which is
3777 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3778 written, the page description is represented as Scheme expressions. You
3779 can also dump these Scheme expressions to a file, which may be
3780 convenient for debugging output routines. This is done with the Scheme
3784 $ lilypond -fscm foo.ly
3785 GNU LilyPond 1.3.144
3786 Now processing: `foo.ly'
3788 Interpreting music...[3]
3789 Preprocessing elements...
3790 Calculating column positions...
3791 paper output to foo.scm...
3794 ;;; Usage: guile -s x.scm > x.tex
3795 (primitive-load-path 'standalone.scm)
3799 $ guile -s foo.scm > foo.tex
3803 @node ASCIIScript output
3804 @subsection ASCIIScript output
3805 @cindex ASCIIScript output
3806 @cindex ascii script
3809 LilyPond can output ASCII Art. This is a two step process, LilyPond
3810 produces an ASCII description file, dubbed ASCIIScript (extension
3811 @file{.as}). ASCIIScript has a small and simple command set that
3812 includes font selection, character and string printing and line drawing
3813 commands. The program @file{as2text} is used to translate an .as file
3816 To produce ASCII Art, you must include an ASCII Art paper definition
3817 file in your .ly, one of:
3819 \include "paper-as5.ly"
3820 \include "paper-as9.ly"
3823 Here's an example use for ASCII Art output (the example file
3824 @file{as-email.ly} is included in the LilyPond distribution), the staff
3825 symbol has been made invisible:
3828 $ lilypond -fas as-email.ly
3829 GNU LilyPond 1.3.144
3830 Now processing: `as-email.ly'
3832 Interpreting music...[3]
3833 Preprocessing elements...
3834 Calculating column positions... [2]
3835 paper output to as-email.as...
3837 $ as2text as-email.as 2>/dev/null
3839 |/ |##|##| | | | | |
3840 /| | | | | |\ |\ |\ |\ |\ |
3841 / |_ 3 | | | | 5 | )| )| )| )| )|
3842 | /| \ 8 * * * | 8 * * * * * |
3852 The ASCII Art fonts are far from complete and not very well designed.
3853 It's easy to change the glyphs, though; if you think you can do better,
3854 have a look at @file{mf/*.af}.
3856 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3858 The poor looks of most ASCII Art output and its limited general
3859 usefulness gives ASCII Art output a low priority; it may be
3860 dropped in future versions.
3867 LilyPond can produce MIDI output. The performance lacks lots of
3868 interesting effects, such as swing, articulation, slurring, etc., but it
3869 is good enough for proof-hearing the music you have entered. Ties,
3870 dynamics and tempo changes are interpreted.
3872 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3873 levels. Dynamic marks translate to a fixed fraction of the available
3874 MIDI volume range, crescendi and decrescendi make the the volume vary
3875 linearly between their two extremities. The fractions be adjusted by
3876 overriding the @code{absolute-volume-alist} defined in
3877 @file{scm/midi.scm}.
3879 For each type of musical instrument (that MIDI supports), a volume range
3880 can be defined. This gives you basic equalizer control, which can
3881 enhance the quality of the MIDI output remarkably. You can add
3882 instruments and ranges or change the default settings by overriding the
3883 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3885 Both loudness controls are combined to produce the final MIDI volume.
3890 It is currently not possible to use the percussion channel (generally
3891 channel 10 of a MIDI file).
3895 * MIDI instrument names::
3900 @subsection MIDI block
3904 The MIDI block is analogous to the paper block, but it is somewhat
3905 simpler. The @code{\midi} block can contain:
3909 @item a @code{\tempo} definition
3910 @item context definitions
3913 Assignments in the @code{\midi} block are not allowed.
3917 @cindex context definition
3919 Context definitions follow precisely the same syntax as within the
3920 \paper block. Translation modules for sound are called performers.
3921 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3924 @node MIDI instrument names
3925 @subsection MIDI instrument names
3927 @cindex instrument names
3928 @cindex @code{Staff.midiInstrument}
3929 @cindex @code{Staff.instrument}
3931 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3932 property or, if that property is not set, the @code{Staff.instrument}
3933 property. The instrument name should be chosen from the list in
3934 @ref{MIDI instruments}.
3938 If the selected string does not exactly match, then LilyPond uses the
3939 default (Grand Piano). It is not possible to select an instrument by
3949 @c FIXME: Note entry vs Music entry at top level menu is confusing.
3952 @section Music entry
3960 When entering music with LilyPond, it is easy to introduce errors. This
3961 section deals with tricks and features that help you enter music, and
3962 find and correct mistakes.
3966 @subsection Relative
3968 @cindex relative octave specification
3970 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3971 When you copy existing music, it is easy to accidentally put a pitch in
3972 the wrong octave and hard to find such an error. To prevent these
3973 errors, LilyPond features octave entry.
3975 @cindex @code{\relative}
3977 \relative @var{startpitch} @var{musicexpr}
3980 The octave of notes that appear in @var{musicexpr} are calculated as
3981 follows: If no octave changing marks are used, the basic interval
3982 between this and the last note is always taken to be a fourth or less
3983 (This distance is determined without regarding alterations; a
3984 @code{fisis} following a @code{ceses} will be put above the
3987 The octave changing marks @code{'} and @code{,} can be added to raise or
3988 lower the pitch by an extra octave. Upon entering relative mode, an
3989 absolute starting pitch must be specified that will act as the
3990 predecessor of the first note of @var{musicexpr}.
3992 Entering music that changes octave frequently is easy in relative mode.
3993 @lilypond[fragment,singleline,verbatim,center]
3999 And octave changing marks are used for intervals greater than a fourth.
4000 @lilypond[fragment,verbatim,center]
4002 c g c f, c' a, e'' }
4005 If the preceding item is a chord, the first note of the chord is used
4006 to determine the first note of the next chord. However, other notes
4007 within the second chord are determined by looking at the immediately
4010 @lilypond[fragment,verbatim,center]
4017 @cindex @code{\notes}
4019 The pitch after the @code{\relative} contains a note name. To parse
4020 the pitch as a note name, you have to be in note mode, so there must
4021 be a surrounding @code{\notes} keyword (which is not
4024 The relative conversion will not affect @code{\transpose},
4025 @code{\chords} or @code{\relative} sections in its argument. If you
4026 want to use relative within transposed music, you must place an
4027 additional @code{\relative} inside the @code{\transpose}.
4032 @subsection Bar check
4036 @cindex @code{barCheckNoSynchronize}
4040 Whenever a bar check is encountered during interpretation, a warning
4041 message is issued if it doesn't fall at a measure boundary. This can
4042 help you find errors in the input. Depending on the value of
4043 @code{barCheckNoSynchronize}, the beginning of the measure will be
4044 relocated, so this can also be used to shorten measures.
4046 A bar check is entered using the bar symbol, @code{|}:
4048 \time 3/4 c2 e4 | g2.
4053 @cindex skipTypesetting
4055 Failed bar checks are most often caused by entering incorrect
4056 durations. Incorrect durations often completely garble up the score,
4057 especially if it is polyphonic, so you should start correcting the score
4058 by scanning for failed bar checks and incorrect durations. To speed up
4059 this process, you can use @code{skipTypesetting} (See @ref{Skipping
4060 corrected music})). Bar
4063 @c . {Point and click}
4064 @node Point and click
4065 @subsection Point and click
4067 Point and click lets you find notes in the input by clicking on them in
4068 the Xdvi window. This makes it very easy to find input that causes some
4069 error in the sheet music.
4071 To use it, you need the following software
4073 @unnumberedsubsec Installation
4077 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
4078 Xdvi} version 22.36 or newer.
4080 Note that most @TeX{} distributions ship with xdvik, which is a
4081 different and less well maintained program. To find out which xdvi you
4082 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
4086 Xdvi must be configured to find the TeX fonts and music
4087 fonts. Refer to the Xdvi documentation for more information.
4090 @unnumberedsubsec Using it
4092 Add one of these lines to the top of your .ly file. The first one is for
4093 line location only. The second one is more convenient, but requires
4094 patching @code{emacsclient} and @code{server.el}.
4097 #(set! point-and-click line-location)
4100 In the emacs startup file (usually @file{~/.emacs}), add the following
4105 Make sure that the environment variable @code{XEDITOR} is set
4108 emacsclient --no-wait +%l %f
4110 The second one, that also specifies the column, only works if you have
4111 patched your emacsclient and server, and have compiled your @code{.ly}
4112 file using the @code{line-column-location} setting.
4114 When viewing, control-mousebutton 1 will take you to the originating
4115 spot in the @file{.ly} file. Control-mousebutton 2 will show all
4119 @unnumberedsubsec Column location
4121 If you want emacs to jump to the exact spot (and not just the line) on a
4122 click, you must enable column positioning. To do so, you need to patch
4123 emacsclient. Apply @file{emacsclient.patch} (included with the source
4124 package) to @file{emacsclient.c} and @file{server.el} from the emacs
4125 source code. Recompile and stick the recompiled emacsclient into a bin
4126 directory, and put @file{server.el} into a elisp directory
4127 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
4128 init file, before invoking server-start.
4131 (setq load-path (cons "~/usr/share/emacs" load-path))
4134 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
4136 At the top of the @code{ly} file, replace the @code{set!} line with the
4139 #(set! point-and-click line-column-location)
4142 One final hint: if you correct large files with point-and-click, then
4143 start correcting at the end of the file. When you start at the top, and
4144 insert one line, all subsequent locations will be off by a line.
4149 When you convert the @TeX{} file to PostScript using @code{dvips}, it
4150 will complain about not finding @code{src:X:Y} files. Those complaints
4151 are harmless, and can be ignored.
4153 @node Skipping corrected music
4154 @section Skipping corrected music
4156 The property @code{Score.skipTypesetting} can be used to switch on and
4157 off typesetting completely during the interpretation phase. When
4158 typesetting is switched off, the music is processed much more quickly.
4159 You can use this to skip over the parts of a score that you have already
4162 @lilypond[fragment,singleline,verbatim]
4163 \relative c'' { c8 d
4164 \property Score.skipTypesetting = ##t
4166 \property Score.skipTypesetting = ##f
4171 @node Interpretation context
4172 @section Interpretation context
4175 * Creating contexts::
4176 * Default contexts::
4177 * Context properties::
4178 * Engravers and performers::
4179 * Changing context definitions::
4180 * Defining new contexts::
4184 Interpretation contexts are objects that only exist during a run of
4185 LilyPond. During the interpretation phase of LilyPond (when it prints
4186 "interpreting music"), the music expression in a @code{\score} block is
4187 interpreted in time order. This is the same order that humans hear and
4190 During this interpretation, the interpretation context holds the
4191 state for the current point within the music. It contains information
4195 @item What notes are playing at this point?
4196 @item What symbols will be printed at this point?
4197 @item What is the current key signature, time signature, point within
4201 Contexts are grouped hierarchically: A @internalsref{Voice} context is
4202 contained in a @internalsref{Staff} context (because a staff can contain
4203 multiple voices at any point), a @internalsref{Staff} context is contained in
4204 @internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
4206 Contexts associated with sheet music output are called @emph{notation
4207 contexts}, those for sound output are called @emph{performance
4208 contexts}. The default definitions of the standard notation and
4209 performance contexts can be found in @file{ly/engraver.ly} and
4210 @file{ly/performer.ly}, respectively.
4213 @node Creating contexts
4214 @subsection Creating contexts
4216 @cindex @code{\context}
4217 @cindex context selection
4219 Contexts for a music expression can be selected manually, using the
4220 following music expression.
4223 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4226 This instructs lilypond to interpret @var{musicexpr} within the context
4227 of type @var{contexttype} and with name @var{contextname}. If this
4228 context does not exist, it will be created.
4230 @lilypond[verbatim,singleline]
4232 \notes \relative c'' {
4233 c4 <d4 \context Staff = "another" e4> f
4239 In this example, the @code{c} and @code{d} are printed on the
4240 default staff. For the @code{e}, a context Staff called
4241 @code{another} is specified; since that does not exist, a new
4242 context is created. Within @code{another}, a (default) Voice context
4243 is created for the @code{e4}. When all music referring to a
4244 context is finished, the context is ended as well. So after the
4245 third quarter, @code{another} is removed.
4249 @node Default contexts
4250 @subsection Default contexts
4252 Most music expressions don't need an explicit @code{\context}
4253 declaration: they inherit the
4254 notation context from their parent. Each note is a music expression, and
4255 as you can see in the following example, only the sequential music
4256 enclosing the three notes has an explicit context.
4258 @lilypond[verbatim,singleline]
4259 \score { \notes \context Voice = goUp { c'4 d' e' } }
4262 There are some quirks that you must keep in mind when dealing with
4265 First, every top level music is interpreted by the Score context, in other
4266 words, you may think of @code{\score} working like
4269 \context Score @var{music}
4273 Second, contexts are created automatically to be able to interpret the
4274 music expressions. Consider the following example.
4276 @lilypond[verbatim, singleline]
4277 \score { \context Score \notes { c'4 ( d' )e' } }
4280 The sequential music is interpreted by the Score context initially
4281 (notice that the @code{\context} specification is redundant), but when a
4282 note is encountered, contexts are setup to accept that note. In this
4283 case, a Thread, Voice and Staff are created. The rest of the sequential
4284 music is also interpreted with the same Thread, Voice and Staff context,
4285 putting the notes on the same staff, in the same voice.
4287 This is a convenient mechanism, but do not expect opening chords to work
4288 without @code{\context}. For every note, a separate staff is
4291 @cindex explicit context
4292 @cindex starting with chords
4293 @cindex chords, starting with
4295 @lilypond[verbatim, singleline]
4296 \score { \notes <c'4 es'> }
4299 Of course, if the chord is preceded by a normal note in sequential
4300 music, the chord will be interpreted by the Thread of the preceding
4302 @lilypond[verbatim,singleline]
4303 \score { \notes { c'4 <c'4 es'> } }
4308 @node Context properties
4309 @subsection Context properties
4311 Notation contexts have properties. These properties are from
4312 the @file{.ly} file using the following expression:
4313 @cindex @code{\property}
4315 \property @var{contextname}.@var{propname} = @var{value}
4318 Sets the @var{propname} property of the context @var{contextname} to the
4319 specified Scheme expression @var{value}. All @var{propname} and
4320 @var{contextname} are strings, which are typically unquoted.
4322 Properties that are set in one context are inherited by all of the
4323 contained contexts. This means that a property valid for the
4324 @internalsref{Voice} context can be set in the @internalsref{Score} context (for
4325 example) and thus take effect in all @internalsref{Voice} contexts.
4327 Properties can be unset using the following expression:
4329 \property @var{contextname}.@var{propname} \unset
4332 @cindex properties, unsetting
4333 @cindex @code{\unset}
4335 This removes the definition of @var{propname} in @var{contextname}. If
4336 @var{propname} was not defined in @var{contextname} (but was inherited
4337 from a higher context), then this has no effect.
4342 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4343 the inverse of @code{\property \set}.
4345 @node Engravers and performers
4346 @subsection Engravers and performers
4350 Basic building blocks of translation are called engravers; they are
4351 special C++ classes.
4355 @c . {Context definitions}
4356 @node Changing context definitions
4357 @subsection Changing context definitions
4359 @cindex context definition
4360 @cindex translator definition
4362 The most common way to define a context is by extending an existing
4363 context. You can change an existing context from the paper block, by
4364 first initializing a translator with an existing context identifier:
4368 @var{context-identifier}
4371 Then you can add and remove engravers using the following syntax:
4373 \remove @var{engravername}
4374 \consists @var{engravername}
4378 Here @var{engravername} is a string, the name of an engraver in the
4382 @lilypond[verbatim,singleline]
4386 \translator { \StaffContext
4387 \remove Clef_engraver
4393 You can also set properties in a translator definition. The syntax is as
4396 @var{propname} = @var{value}
4397 @var{propname} \set @var{grob-propname} = @var{pvalue}
4398 @var{propname} \override @var{grob-propname} = @var{pvalue}
4399 @var{propname} \revert @var{grob-propname}
4401 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4402 and @code{pvalue} are Scheme expressions. These type of property
4403 assignments happen before interpretation starts, so a @code{\property}
4404 command will override any predefined settings.
4407 To simplify editing translators, all standard contexts have standard
4408 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4409 @code{VoiceContext}, see @file{ly/engraver.ly}.
4411 @node Defining new contexts
4412 @subsection Defining new contexts
4414 If you want to build a context from scratch, you must also supply the
4415 following extra information:
4417 @item A name, specified by @code{\name @var{contextname}}.
4419 @item A cooperation module. This is specified by @code{\type
4426 \type "Engraver_group_engraver"
4429 \consists "Staff_symbol_engraver"
4430 \consists "Note_head_engraver"
4431 \consistsend "Axis_group_engraver"
4435 The argument of @code{\type} is the name for a special engraver that
4436 handles cooperation between simple engravers such as
4437 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4438 for this engraver are the following:
4440 @cindex @code{Engraver_group_engraver}
4441 @item @code{Engraver_group_engraver}
4442 The standard cooperation engraver.
4444 @cindex @code{Score_engraver}
4446 @item @code{Score_engraver}
4447 This is cooperation module that should be in the top level context,
4448 and only the top level context.
4450 @cindex @code{Grace_engraver_group}
4452 @item @code{Grace_engraver_group}
4453 This is a special cooperation module (resembling
4454 @code{Score_engraver}) that is used to create an embedded
4461 @item @code{\alias} @var{alternate-name}
4462 This specifies a different name. In the above example,
4463 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4465 @item @code{\consistsend} @var{engravername}
4466 Analogous to @code{\consists}, but makes sure that
4467 @var{engravername} is always added to the end of the list of
4470 Some engraver types need to be at the end of the list; this
4471 insures they stay there even if a user adds or removes engravers.
4472 End-users generally don't need this command.
4474 @item @code{\accepts} @var{contextname}
4475 Add @var{contextname} to the list of contexts this context can
4476 contain in the context hierarchy. The first listed context is the
4477 context to create by default.
4479 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4480 completeness, but is never used in practice.
4483 @item @code{\name} @var{contextname}
4484 This sets the type name of the context, e.g. @internalsref{Staff},
4485 @internalsref{Voice}. If the name is not specified, the translator won't do
4489 In the @code{\paper} block, it is also possible to define translator
4490 identifiers. Like other block identifiers, the identifier can only
4491 be used as the very first item of a translator. In order to define
4492 such an identifier outside of @code{\score}, you must do
4497 foo = \translator @{ @dots{} @}
4504 \translator @{ \foo @dots{} @}
4512 @cindex paper types, engravers, and pre-defined translators
4519 @c . {Syntactic details}
4520 @node Syntactic details
4521 @section Syntactic details
4522 @cindex Syntactic details
4524 This section describes details that were too boring to be put elsewhere.
4529 * Music expressions::
4530 * Manipulating music expressions::
4538 @subsection Top level
4541 This section describes what you may enter at top level.
4545 @subsubsection Score
4548 @cindex score definition
4550 The output is generated combining a music expression with an output
4551 definition. A score block has the following syntax:
4554 \score @{ @var{musicexpr} @var{outputdefs} @}
4557 @var{outputdefs} are zero or more output definitions. If none is
4558 supplied, the default @code{\paper} block will be added.
4562 @c . {Default output}
4563 @subsubsection Default output
4565 Default values for the @code{\paper} and @code{\midi} block are set by
4566 entering such a block at the top level.
4569 @subsubsection Header
4571 @cindex @code{\header}
4574 A header describes bibliographic information of the file's contents. It
4575 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4576 use this information for generating titles. Key values that are used by
4577 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4578 meter, arranger, piece and tagline.
4580 @cindex @code{ly2dvi}
4584 \header @{ @var{key1} = @var{val1}
4585 @var{key2} = @var{val2} @dots{} @}
4588 It is customary to put the @code{\header} at the top of the file.
4590 @subsubsection Default output
4592 A @code{\midi} or @code{\paper} block at top level sets the default
4593 paper block for all scores that lack an explicit paper block.
4597 @subsection Identifiers
4601 What has this section got to do with identifiers?
4602 It seems more appropriate in the introduction to Chapter 4,
4608 All of the information in a LilyPond input file, is internally
4609 represented as a Scheme value. In addition to normal Scheme data types
4610 (such as pair, number, boolean, etc.), LilyPond has a number of
4611 specialized data types,
4618 @item Translator_def
4622 @item Music_output_def
4623 @item Moment (rational number)
4626 LilyPond also includes some transient object types. Objects of these
4627 types are built during a LilyPond run, and do not `exist' per se within
4628 your input file. These objects are created as a result of your input
4629 file, so you can include commands in the input to manipulate them,
4630 during a lilypond run.
4633 @item Grob: short for Graphical object. See @ref{Grobs}.
4634 @item Molecule: device-independent page output object,
4635 including dimensions. Produced by some Grob functions
4637 @item Translator: object that produces audio objects or Grobs. This is
4638 not yet user accessible.
4639 @item Font_metric: object representing a font. (See @ref{Font metrics})
4644 @node Music expressions
4645 @subsection Music expressions
4647 @cindex music expressions
4649 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4650 syllables are music expressions, and you can combine music expressions
4651 to form new ones, for example by enclosing a list of expressions in
4652 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4653 compound expression is formed out of the quarter note @code{c} and a
4654 quarter note @code{d}:
4657 \sequential @{ c4 d4 @}
4660 @cindex Sequential music
4661 @cindex @code{\sequential}
4662 @cindex sequential music
4665 @cindex Simultaneous music
4666 @cindex @code{\simultaneous}
4668 The two basic compound music expressions are simultaneous and
4672 \sequential @code{@{} @var{musicexprlist} @code{@}}
4673 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4675 For both, there is a shorthand:
4677 @code{@{} @var{musicexprlist} @code{@}}
4681 @code{<} @var{musicexprlist} @code{>}
4683 for simultaneous music.
4684 In principle, the way in which you nest sequential and simultaneous to
4685 produce music is not relevant. In the following example, three chords
4686 are expressed in two different ways:
4688 @lilypond[fragment,verbatim,center]
4689 \notes \context Voice {
4690 <a c'> <b d' > <c' e'>
4691 < { a b c' } { c' d' e' } >
4696 Other compound music expressions include
4699 \transpose @var{pitch} @var{expr}
4700 \apply @var{func} @var{expr}
4701 \context @var{type} = @var{id} @var{expr}
4702 \times @var{fraction} @var{expr}
4706 @c . {Manipulating music expressions}
4707 @node Manipulating music expressions
4708 @subsection Manipulating music expressions
4710 The @code{\apply} mechanism gives you access to the internal
4711 representation of music. You can write Scheme-functions that operate
4712 directly on it. The syntax is
4714 \apply #@var{func} @var{music}
4716 This means that @var{func} is applied to @var{music}. The function
4717 @var{func} should return a music expression.
4719 This example replaces the text string of a script. It also shows a dump
4720 of the music it processes, which is useful if you want to know more
4721 about how music is stored.
4723 @lilypond[verbatim,singleline]
4724 #(define (testfunc x)
4725 (if (equal? (ly-get-mus-property x 'text) "foo")
4726 (ly-set-mus-property x 'text "bar"))
4728 (ly-set-mus-property x 'elements
4729 (map testfunc (ly-get-mus-property x 'elements)))
4734 \apply #testfunc { c'4_"foo" }
4738 For more information on what is possible, see the automatically
4739 generated documentation.
4742 Directly accessing internal representations is dangerous: the
4743 implementation is subject to changes, so you should avoid this feature
4746 A final example is a function that reverses a piece of music in time:
4748 @lilypond[verbatim,singleline]
4749 #(define (reverse-music music)
4750 (let* ((elements (ly-get-mus-property music 'elements))
4751 (reversed (reverse elements))
4752 (span-dir (ly-get-mus-property music 'span-direction)))
4753 (ly-set-mus-property music 'elements reversed)
4755 (ly-set-mus-property music 'span-direction (- span-dir)))
4756 (map reverse-music reversed)
4759 music = \notes { c'4 d'4( e'4 f'4 }
4761 \score { \context Voice {
4763 \apply #reverse-music \music
4768 More examples are given in the distributed example files in
4771 @c . {Span requests}
4777 @subsubsection Span requests
4778 @cindex Span requests
4780 Notational constructs that start and end on different notes can be
4781 entered using span requests. The syntax is as follows:
4785 \spanrequest @var{startstop} @var{type}
4789 @cindex @code{\start}
4790 @cindex @code{\stop}
4792 This defines a spanning request. The @var{startstop} parameter is either
4793 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4794 describes what should be started. Much of the syntactic sugar is a
4795 shorthand for @code{\spanrequest}, for example,
4797 @lilypond[fragment,verbatim,center]
4798 c'4-\spanrequest \start "slur"
4799 c'4-\spanrequest \stop "slur"
4802 Among the supported types are @code{crescendo}, @code{decrescendo},
4803 @code{beam}, @code{slur}. This is an internal command. Users are
4804 encouraged to use the shorthands which are defined in the initialization
4805 file @file{spanners.ly}.
4810 @subsection Assignments
4813 Identifiers allow objects to be assigned to names during the parse
4814 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4815 and to refer to an identifier, you precede its name with a backslash:
4816 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4817 the input-types listed above. Identifier assignments can appear at top
4818 level in the LilyPond file, but also in @code{\paper} blocks.
4820 An identifier can be created with any string for its name, but you will
4821 only be able to refer to identifiers whose names begin with a letter,
4822 being entirely alphabetical. It is impossible to refer to an identifier
4823 whose name is the same as the name of a keyword.
4825 The right hand side of an identifier assignment is parsed completely
4826 before the assignment is done, so it is allowed to redefine an
4827 identifier in terms of its old value, e.g.
4833 When an identifier is referenced, the information it points to is
4834 copied. For this reason, an identifier reference must always be the
4835 first item in a block.
4839 \paperIdent % wrong and invalid
4843 \paperIdent % correct
4848 @c . {Lexical modes}
4850 @subsection Lexical modes
4851 @cindex Lexical modes
4854 @cindex @code{\notes}
4855 @cindex @code{\chords}
4856 @cindex @code{\lyrics}
4858 To simplify entering notes, lyrics, and chords, LilyPond has three
4859 special input modes in addition to the default mode: note, lyrics and
4860 chords mode. These input modes change the way that normal, unquoted
4861 words are interpreted: for example, the word @code{cis} may be
4862 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4863 major triad respectively.
4865 A mode switch is entered as a compound music expression
4867 @code{\notes} @var{musicexpr}
4868 @code{\chords} @var{musicexpr}
4869 @code{\lyrics} @var{musicexpr}.
4872 In each of these cases, these expressions do not add anything to the
4873 meaning of their arguments. They just instruct the parser in what mode
4874 to parse their arguments. The modes are treated in more detail in
4875 @ref{Lyrics} and @ref{Chords}.
4877 Different input modes may be nested.
4881 @subsection Ambiguities
4886 The grammar contains a number of ambiguities. We hope to resolve them at
4890 @item The assignment
4895 is interpreted as the string identifier assignment. However,
4896 it can also be interpreted as making a string identifier @code{\foo}
4897 containing @code{"bar"}, or a music identifier @code{\foo}
4898 containing the syllable `bar'.
4900 @item If you do a nested repeat like
4912 then it is ambiguous to which @code{\repeat} the
4913 @code{\alternative} belongs. This is the classic if-then-else
4914 dilemma. It may be solved by using braces.
4916 @item The parser is not sophisticated enough to distinguish at the
4918 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4925 @c . {Lexical details}
4926 @node Lexical details
4927 @section Lexical details
4929 Even more boring details, now on lexical side of the input parser.
4940 * Version information::
4945 @subsection Comments
4948 @cindex block comment
4949 @cindex line comment
4953 A one line comment is introduced by a @code{%} character.
4954 Block comments are started by @code{%@{} and ended by @code{%@}}.
4955 They cannot be nested.
4958 @subsection Direct Scheme
4962 @cindex Scheme, in-line code
4965 LilyPond contains a Scheme interpreter (the GUILE library) for
4966 internal use. In some places, Scheme expressions also form valid syntax:
4967 wherever it is allowed,
4971 evaluates the specified Scheme code. Example:
4973 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4975 @code{\override} expects two Scheme expressions, so there are two Scheme
4976 expressions. The first one is a symbol (@code{foobar}), the second one
4977 an integer (namely, 3).
4979 In-line scheme may be used at the top level. In this case the result is
4982 Scheme is a full-blown programming language, and a full discussion is
4983 outside the scope of this document. Interested readers are referred to
4984 the website @uref{http://www.schemers.org/} for more information on
4989 @subsection Keywords
4993 Keywords start with a backslash, followed by a number of lower case
4994 alphabetic characters. These are all the keywords.
4997 apply arpeggio autochange spanrequest commandspanrequest
4998 simultaneous sequential accepts alternative bar breathe
4999 char chordmodifiers chords clef cm consists consistsend
5000 context denies duration dynamicscript elementdescriptions
5001 font grace header in lyrics key mark pitch
5002 time times midi mm name pitchnames notes outputproperty
5003 override set revert partial paper penalty property pt
5004 relative remove repeat addlyrics partcombine score
5005 script stylesheet skip textscript tempo translator
5010 @subsection Integers
5018 Formed from an optional minus sign followed by digits. Arithmetic
5019 operations cannot be done with integers, and integers cannot be mixed
5024 @cindex real numbers
5030 Formed from an optional minus sign and a sequence of digits followed
5031 by a @emph{required} decimal point and an optional exponent such as
5032 @code{-1.2e3}. Reals can be built up using the usual operations:
5033 `@code{+}', `@code{-}', `@code{*}', and
5034 `@code{/}', with parentheses for grouping.
5042 A real constant can be followed by one of the dimension keywords:
5043 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
5044 points, inches and centimeters, respectively. This converts the number
5045 a number that is the internal representation of that dimension.
5053 Begins and ends with the @code{"} character. To include a @code{"}
5054 character in a string write @code{\"}. Various other backslash
5055 sequences have special interpretations as in the C language. A string
5056 that contains no spaces can be written without the quotes. Strings can
5057 be concatenated with the @code{+} operator.
5061 @subsection Main input
5064 @cindex @code{\maininput}
5066 The @code{\maininput} command is used in init files to signal that the
5067 user file must be read. This command cannot be used in a user file.
5069 @node File inclusion
5070 @subsection File inclusion
5071 @cindex @code{\include}
5073 \include @var{filename}
5076 Include @var{filename}. The argument @var{filename} may be a quoted string (an
5077 unquoted string will not work here!) or a string identifier. The full
5078 filename including the @file{.ly} extension must be given,
5081 @node Version information
5082 @subsection Version information
5083 @cindex @code{\version}
5085 \version @var{string}
5088 Specify the version of LilyPond that a file was written for. The
5089 argument is a version string in quotes, for example @code{"1.2.0"}.
5090 This is used to detect invalid input, and to aid
5091 @code{convert-ly} a tool that automatically upgrades input files. See
5092 See @ref{convert-ly} for more information on @code{convert-ly}.
5101 @c .{Local emacs vars}
5104 @c minor-mode: font-lock
5105 @c minor-mode: outline
5106 @c outline-layout: (-1 : 0)
5107 @c outline-use-mode-specific-leader: "@c \."
5108 @c outline-primary-bullet: "{"
5109 @c outline-stylish-prefixes: nil
5110 @c outline-override-protect: t