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
15 @c .{Reference Manual}
17 @node Reference Manual
18 @chapter Reference Manual
20 This document describes GNU LilyPond and its input format. The last
21 revision of this document was made for LilyPond 1.4.1. It supposes a
22 passing familiarity with how LilyPond input works. New users are
23 encouraged to study the tutorial first.
25 The reference manual is ordered according to different tasks.
26 More details on the property setting mechanisms and context handling is
27 provided in @ref{Tuning output} and @ref{Interpretation context}. The
28 syntactical details are described at the end of the manual.
50 * Skipping corrected music::
51 * Interpretation context::
61 The purpose of LilyPond is explained informally by the term `music
62 typesetter'. This is not a fully correct name: not only does the
63 program print musical symbols, it also makes aesthetic decisions.
64 Symbols and their placements are @emph{generated} from a high-level
65 musical description. In other words, LilyPond would be best described
66 by `music compiler' or `music to notation compiler'.
68 LilyPond is linked to GUILE, GNU's Scheme library for extension
69 programming. The Scheme library provides the glue that holds together
70 the low-level routines and separate modules which are written in C++.
72 When lilypond is run to typeset sheet music, the following happens:
74 @item GUILE Initialization: various scheme files are read
75 @item parsing: first standard @code{ly} initialization files are read, and
76 then the user @file{ly} file is read.
77 @item interpretation: the music in the file is processed ``in playing
78 order'', i.e. the order that you use to read sheet music, or the
79 order in which notes are played. The result of this step is a typesetting
83 The typesetting specification is solved: positions and formatting is
86 @item the visible results ("virtual ink") are written to the output file.
89 During these stages different types of data play the the main role:
90 during parsing, @strong{Music} objects are created. During the
91 interpretation, @strong{contexts} are constructed, and with these contexts
92 a network of @strong{graphical objects} (``grobs'') is created. These
93 grobs contain unknown variables, and the network forms a set of
94 equations. After solving the equations and filling in these variables,
95 the printed output (in the form of @strong{molecules}) is written to an
98 These threemanship of tasks (parsing, translating, typesetting) and
99 data-structures (music, context, graphical objects) permeates the entire
100 design of the program.
107 The most basic forms of music are notes. We discuss how you enter them
108 here. Notes on their own don't form valid input, but for the sake of
109 brevity we omit obligatory lint such as @code{\score} blocks and
110 @code{\paper} declarations.
121 * Defining pitch names::
122 * Easy Notation note heads ::
129 A note specification has the form
132 @var{pitch}[!][?][@var{duration}]
135 The alteration refers to what note is heard, not to whether an
136 accidental is printed. This is done depending on the key and context.
137 A reminder accidental
138 @cindex reminder accidental
140 can be forced by adding an exclamation mark @code{!} after the pitch. A
141 cautionary accidental,
142 @cindex cautionary accidental
143 @cindex parenthesized accidental
144 i.e., an accidental within parentheses can be obtained by adding the
145 question mark `@code{?}' after the pitch.
147 @lilypond[fragment,verbatim,center]
148 cis' d' e' cis' c'? d' e' c'!
157 @cindex Note specification
159 @cindex entering notes
161 The verbose syntax for pitch specification is
163 @cindex @code{\pitch}
165 \pitch @var{scmpitch}
168 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
170 In Note and Chord mode, pitches may be designated by names. The default
171 names are the Dutch note names. The notes are specified by the letters
172 @code{a} through @code{g} (where the octave is formed by notes ranging
173 from @code{c} to @code{b}). The pitch @code{c} is an octave below
174 middle C and the letters span the octave above that C.
176 @cindex note names, Dutch
178 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
179 name and a flat is formed by adding @code{-es}. Double sharps and double
180 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
181 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
182 both forms are accepted.
184 LilyPond has predefined sets of note names for various other languages.
185 To use them, simply include the language specific init file. For
186 example: @code{\include "english.ly"}. The available language files and
187 the names they define are:
190 Note Names sharp flat
191 nederlands.ly c d e f g a bes b -is -es
192 english.ly c d e f g a bf b -s/-sharp -f/-flat
193 deutsch.ly c d e f g a b h -is -es
194 norsk.ly c d e f g a b h -iss/-is -ess/-es
195 svenska.ly c d e f g a b h -iss -ess
196 italiano.ly do re mi fa sol la sib si -d -b
197 catalan.ly do re mi fa sol la sib si -d/-s -b
205 The optional octave specification takes the form of a series of
206 single quote (`@code{'}') characters or a series of comma
207 (`@code{,}') characters. Each @code{'} raises the pitch by one
208 octave; each @code{,} lowers the pitch by an octave.
210 @lilypond[fragment,verbatim,center]
211 c' c'' es' g' as' gisis' ais'
219 Rests are entered like notes, with note name `@code{r}'. The grob is
220 @code{Rest}. Whole bar rests centered in the bar are specified using
221 @code{R}, see @ref{Multi measure rests}.
236 Skips the amount of time specified by @var{duration}. If no other music
237 is played, a gap will be left for the skipped time without any notes
238 printed. The shorthand is only available in Note and Chord mode.
242 @subsection Durations
246 @cindex @code{\duration}
248 The syntax for a verbose duration specification is
250 \duration @var{scmduration}
252 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
253 @ref{Duration} for more information.
256 In Note, Chord, and Lyrics mode, durations may be designated by numbers
257 and dots: durations are entered as their reciprocal values. For notes
258 longer than a whole you must use identifiers.
262 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
264 r1 r2 r4 r8 r16 r32 r64 r64
270 \notes \relative c'' {
272 a1 a2 a4 a8 a16 a32 a64 a64
274 r1 r2 r4 r8 r16 r32 r64 r64
279 \remove "Clef_engraver"
280 \remove "Staff_symbol_engraver"
281 \remove "Time_signature_engraver"
282 \consists "Pitch_squash_engraver"
288 To get a longa note head, you have to use mensural note heads. This
289 is accomplished by setting the @code{style} property of the
290 NoteHead grob to @code{mensural}. There is also a note head style
291 @code{baroque} which gives mensural note heads for @code{\longa} and
292 @code{\breve} but standard note heads for shorter notes.
294 @lilypond[fragment,singleline,verbatim]
295 \property Voice.NoteHead \set #'style = #'mensural
299 If the duration is omitted then it is set to the previous duration
300 entered. At the start of parsing a quarter note is assumed. The
301 duration can be followed by dots (`@code{.}') to obtain dotted note
305 @lilypond[fragment,verbatim,center]
311 You can alter the length of duration by a fraction @var{N/M} by
312 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
313 will not affect the appearance of the notes or rests produced.
325 A tie connects two adjacent note heads of the same pitch. When used
326 with chords, it connects all the note heads whose pitches match.
327 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
328 together chords which have no common pitches then no ties will be
331 @lilypond[fragment,verbatim,center]
332 e' ~ e' <c' e' g'> ~ <c' e' g'>
335 If you dislike the amount of ties created for a chord, you set
336 @code{Voice.sparseTies} to true, resulting in a smaller number of
338 @lilypond[fragment,verbatim,center]
339 \property Voice.sparseTies = ##t
340 <c' e' g'> ~ <c' e' g'>
343 In its meaning a tie is just a way of extending a note duration, similar
344 to the augmentation dot: the following example are two ways of notating
345 exactly the same concept.
347 @lilypond[fragment, singleline]
348 \time 3/4 c'2. c'2 ~ c'4
351 The name of the tie grob is @code{Voice.Tie}.
355 At present, the tie is implemented as a separate thing, temporally
356 located in between the notes. There is also no way to convert
357 between tied notes, dotted notes and plain notes.
359 Tieing only a subset of the note heads of a chord is not supported in a
360 simple way. It can be achieved by moving the tie-engraver into the Thread
361 context and turning on and off ties per Thread.
369 @cindex @code{\times}
371 Tuplets are made out of a music expression by multiplying all duration
374 @cindex @code{\times}
376 \times @var{fraction} @var{musicexpr}
379 The duration of @var{musicexpr} will be multiplied by the fraction.
380 In print, the fraction's denominator will be printed over the notes,
381 optionally with a bracket. The most common tuplet is the triplet in
382 which 3 notes have the length of 2, so the notes are 2/3 of
383 their written length:
385 @lilypond[fragment,verbatim,center]
386 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
389 The property @code{tupletSpannerDuration} specifies how long each bracket
390 should last. With this, you can make lots of tuplets while typing
391 @code{\times} only once, thus saving typing work.
393 @lilypond[fragment, relative, singleline, verbatim]
394 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
395 \times 2/3 { c'8 c c c c c }
398 The format of the number is determined by the property
399 @code{tupletNumberFormatFunction}. The default prints only the
400 denominator, but if you set it to the Scheme function
401 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
404 The typesetting of brackets and numbers is controlled by the properties
405 @code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
407 @lilypond[fragment, relative, singleline, verbatim]
408 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
409 \times 2/3{c'8 d e} \times 2/3{d4 e8}
410 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
411 \times 2/3{c d e} \times 2/3{d4 e8}
412 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
413 \times 2/3{c d e} \times 2/3{d4 e8}
414 \property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
415 \times 2/3{c d e} \times 2/3{d4 e8}
416 \property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
417 \times 2/3{c d e} \times 2/3{d4 e8}
420 @cindex @code{tupletNumberFormatFunction}
421 @cindex tuplet formatting
423 Tuplet brackets are printed as @code{TupletBracket} grobs
425 @c . {Defining pitch names}
426 @node Defining pitch names
427 @subsection Defining pitch names
429 @cindex defining pitch names
430 @cindex pitch names, defining
432 Note names and chord modifiers can be customized for nationalities. The
433 syntax is as follows.
435 @cindex @code{\pitchnames}
436 @cindex @code{\chordmodifiers}
438 \pitchnames @var{scheme-alist}
439 \chordmodifiers @var{scheme-alist}
442 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
443 specific examples on how to do this.
446 @node Easy Notation note heads
447 @subsection Easy Notation note heads
449 @cindex easy notation
452 A entirely different type of note head is the "easyplay" note head: a
453 note head that includes a note name. It is used in some publications by
454 Hal-Leonard Inc. music publishers.
456 @lilypond[singleline,verbatim]
457 \include "paper23.ly"
459 \notes { c'2 e'4 f' | g'1 }
460 \paper { \translator { \EasyNotation } }
464 Note that @code{EasyNotation} overrides a @code{Score} context. You
465 probably will want to print it with magnification to make it more
466 readable, see @ref{Output scaling}.
472 If you view the result with Xdvi, then staff lines will show through the
473 letters. Printing the postscript file obtained either by using dvips or
474 the @code{-f ps} option of lilypond produces the correct result.
479 @section Staff notation
481 @cindex Staff notation
493 @subsection Key signature
498 Setting or changing the key signature is done with the @code{\key}
501 @code{\key} @var{pitch} @var{type}
504 @cindex @code{\minor}
505 @cindex @code{\major}
506 @cindex @code{\minor}
507 @cindex @code{\ionian}
508 @cindex @code{\locrian}
509 @cindex @code{\aeolian}
510 @cindex @code{\mixolydian}
511 @cindex @code{\lydian}
512 @cindex @code{\phrygian}
513 @cindex @code{\dorian}
515 Here, @var{type} should be @code{\major} or @code{\minor} to get
516 @var{pitch}-major or @var{pitch}-minor, respectively.
517 The standard mode names @code{\ionian},
518 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
519 @code{\phrygian}, and @code{\dorian} are also defined.
521 This command sets the context property @code{Staff.keySignature}.
522 Non-standard key signatures can be specified by setting this property
523 directly, see the generated documentation for @rgrob{KeySignature}.
525 The printed signature is a @code{KeySignature} grob.
527 @cindex @code{keySignature}
534 The clef can be set or changed with the @code{\clef} command.
542 \property Staff.clefGlyph = @var{glyph associated with clefname}
543 \property Staff.clefPosition = @var{clef Y-position for clefname}
544 \property Staff.centralCPosition = @var{position for central C}
545 \property Staff.clefOctavation = @var{extra transposition of clefname}
548 Any change in these properties creates a clef (a @code{Clef} grob).
550 Supported clef-names include
552 @c Moved standard clefs to the top /MB
554 @item treble, violin, G, G2
563 G clef on 1st line, so-called French violin clef
578 By adding @code{_8} or @code{^8} to the clef name, the clef is
579 transposed one octave down or up, respectively.
581 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
590 @item clefs-vaticana_do
591 Editio Vaticana style do clef
592 @item clefs-vaticana_fa
593 Editio Vaticana style fa clef
594 @item clefs-medicaea_do
595 Editio Medicaea style do clef
596 @item clefs-medicaea_fa
597 Editio Medicaea style fa clef
598 @item clefs-mensural1_c
599 modern style mensural C clef
600 @item clefs-mensural2_c
601 historic style small mensural C clef
602 @item clefs-mensural3_c
603 historic style big mensural C clef
604 @item clefs-mensural1_f
605 historic style traditional mensural F clef
606 @item clefs-mensural2_f
607 historic style new mensural F clef
608 @item clefs-mensural_g
609 historic style mensural G clef
610 @item clefs-hufnagel_do
611 historic style hufnagel do clef
612 @item clefs-hufnagel_fa
613 historic style hufnagel fa clef
614 @item clefs-hufnagel_do_fa
615 historic style hufnagel combined do/fa clef
616 @item clefs-percussion
617 modern style percussion clef
620 @emph{Modern style} means ``as is typeset in current editions.''
621 @emph{Historic style} means ``as was typeset or written in contemporary
622 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
625 @cindex Vaticana, Editio
626 @cindex Medicaea, Editio
627 @cindex hufnagel clefs
630 @c . {Time signature}
632 @subsection Time signature
633 @cindex Time signature
637 The time signature is set or changed by the @code{\time}
640 \time @var{n}@code{/}@var{d}
642 Internally, this is a shortcut for doing
644 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
645 \property Score.beatLength = #(make-moment 1 @var{d})
646 \property Score.measureLength = #(make-moment @var{n} @var{d})
649 These properties @code{timeSignatureFraction} determine where bar lines
650 should be inserted, and how automatic beams should be
653 Changing the value of @code{timeSignatureFraction} also causes a
654 fraction to be printed. This grob is @code{TimeSignature}.
656 The actual symbol that's printed can be customized with the style
658 @lilypond[fragment, verbatim, singleline]
660 \property Staff.TimeSignature \override #'style = #'C
662 \property Staff.TimeSignature \override #'style = #'()
664 \property Staff.TimeSignature \override #'style = #'C
668 There are many more options for the layout of this grob. They are
669 selected through the @code{style} grob property.
671 @c FIXME: this isn't documented except in example?
673 @file{input/test/time.ly} for examples.
680 @cindex partial measure
681 @cindex measure, partial
682 @cindex shorten measures
683 @cindex @code{\partial}
685 Partial measures, for example in upbeats, are entered using the
686 @code{\partial} command:
688 \partial @var{duration}
691 Internally, this is a shortcut for
694 \property Score.measurePosition = -@var{length of duration}
698 The property @code{measurePosition} contains a rational number
699 indicating how much of the measure has passed at this point.
702 @node Unmetered music
703 @subsection Unmetered music
705 Bar lines and bar numbers are calculated automatically. For unmetered
706 music (e.g. cadenzas), this is not desirable. The property
707 @code{Score.timing} can be used to switch off this automatic timing
709 @lilypond[fragment,relative,singleline,verbatim]
711 \property Score.timing = ##f
713 \property Score.timing = ##t
717 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
724 @subsection Bar lines
728 @cindex measure lines
735 This is a shortcut for doing
737 \property Score.whichBar = @var{bartype}
739 The following bar types are available
741 @lilypond[fragment, relative, singleline, verbatim]
754 You are encouraged to use @code{\repeat} for repetitions. See
758 @cindex Bar_line_engraver
760 @cindex repeatCommands
761 @cindex defaultBarType
763 Whenever @code{whichBar} is set to a string, a bar line of that type is
764 created. @code{whichBar} is usually set automatically: at the start of
765 a measure it is set to @code{defaultBarType}. The contents of
766 @code{repeatCommands} is used to override default measure bars.
768 @code{whichBar} can also be set directly, using @code{\property} or
769 @code{\bar }. These settings take precedence over the automatic
770 @code{whichBar} settings.
772 @code{BarLine} grobs are created by the @code{Bar_engraver}.
779 Polyphonic parts, i.e. parts with more than one voice on a staff can be
780 typeset with LilyPond. To use this, instantiate a separate Voice
781 context for each part, and assign a stem direction to each part.
782 @lilypond[fragment,verbatim]
784 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
785 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
788 When there are more than two voices on a staff, you must also indicate
789 which voice should moved horizontally in case of a collision. This can
790 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
791 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
792 in @code{NoteColumn}).
794 @lilypond[fragment, verbatim]
795 \context Staff \notes\relative c''<
802 \context Voice=three {
803 \shiftOnn \stemUp ais
805 \context Voice=four {
806 \shiftOnnn \stemUp fis
811 The most convenient way is to use the identifiers @code{\voiceOne}
812 through @code{\voiceFour}, which also set slur and tie directions in the
815 @lilypond[singleline, verbatim]
817 \context Staff < \context Voice = VA { \voiceOne cis2 b }
818 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
819 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
822 Normally, note heads with a different number of dots are not merged, but
823 if you set the grob property @code{merge-differently-dotted}, they are:
825 @lilypond[verbatim,fragment,singleline]
827 \context Voice = VA { \voiceOne
829 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
832 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
836 LilyPond also vertically shifts rests that are opposite of a stem.
838 @lilypond[singleline,verbatim]
840 \context Voice { \stemUp c''4 }
841 \context Voice =VB { r4 }
845 Note head collisions (horizontal shifting of note heads) are handled by
846 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
849 @cindex @code{NoteCollision}
850 @cindex @code{RestCollision}
855 Resolving collisions is a very intricate subject, and LilyPond only
856 handles a few situations. When it can not cope, you are advised to use
857 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
858 the Rest grob to override typesetting decisions.
863 Beams are used to group short notes into chunks that are aligned with
864 the metrum. LilyPond guesses where beams should be inserted. If you're
865 not satisfied with the automatic beaming, you can specify which patterns
866 to beam automatically. In specific cases, you can also enter the beams
870 @c . {Automatic beams}
871 @subsection Automatic beams
873 @cindex @code{Voice.autoBeamSettings}
874 @cindex @code{(end * * * *)}
875 @cindex @code{(begin * * * *)}
878 In normal time signatures, automatic beams can start on any note but can
879 only end in a few positions within the measure: beams can end on a beat,
880 or at durations specified by the properties in
881 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
882 are defined in @file{scm/auto-beam.scm}.
884 The value of @code{autoBeamSettings} is changed using
885 @code{\override} and unset using @code{\revert}:
887 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
888 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
890 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
891 whether the rule applies to begin or end-points. The quantity
892 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
893 *}' designates notes of any length), @var{N}/@var{M} refers to a time
894 signature (wildcards, `@code{* *}' may be entered to designate all time
897 For example, if you want automatic beams to end on every quarter note,
898 you can use the following:
900 \property Voice.autoBeamSettings \override
901 #'(end * * * *) = #(make-moment 1 4)
903 Since the duration of a quarter note is 1/4 of a whole note, it is
904 entered as @code{(make-moment 1 4)}.
906 The same syntax can be used to specify beam starting points. In this
907 example, automatic beams can only end on a dotted quarter note.
909 \property Voice.autoBeamSettings \override
910 #'(end * * * *) = #(make-moment 3 8)
912 In 4/4 time signature, this means that automatic beams could end only on
913 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
914 3/8 has passed within the measure).
916 You can also restrict rules to specific time signatures. A rule that
917 should only be applied in @var{N}/@var{M} time signature is formed by
918 replacing the second asterisks by @var{N} and @var{M}. For example, a
919 rule for 6/8 time exclusively looks like
921 \property Voice.autoBeamSettings \override
922 #'(begin * * 6 8) = ...
925 If you want a rule to apply to certain types of beams, you can use the
926 first pair of asterisks. Beams are classified according to the shortest
927 note they contain. For a beam ending rule that only applies to beams
928 with 32nd notes (and no shorter notes), you would use @code{(end 1
932 @c Automatic beams can not be put on the last note in a score.
934 If a score ends while an automatic beam has not been ended and is still
935 accepting notes, this last beam will not be typeset at all.
937 @cindex automatic beam generation
939 @cindex @code{Voice.noAutoBeaming}
941 Automatic beaming is on by default, but can be switched off by setting
942 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
943 a melody that goes with lyrics.
947 It is not possible to specify beaming parameters for beams with mixed
948 durations, that differ from the beaming parameters of all separate
949 durations, i.e., you'll have to specify manual beams to get:
950 @lilypond[fragment,singleline,relative]
951 \property Voice.autoBeamSettings
952 \override #'(end * * * *) = #(make-moment 3 8)
953 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
956 It is not possible to specify beaming parameters that act differently in
957 different parts of a measure. This means that it is not possible to use
958 automatic beaming in irregular meters such as @code{5/8}.
961 @cindex Automatic beams
962 @subsection Manual beams
963 @cindex beams, manual
967 In some cases it may be necessary to override LilyPond's automatic
968 beaming algorithm. For example, the auto beamer will not beam over
969 rests or bar lines, If you want that, specify the begin and end point
970 manually using a @code{[} before the first beamed note and a @code{]}
973 @lilypond[fragment,relative,verbatim]
975 r4 [r8 g' a r8] r8 [g | a] r8
978 Whenever an manual beam is busy, the automatic beamer will not produce
981 @cindex @code{stemLeftBeamCount}
983 Normally, beaming patterns within a beam are determined automatically.
984 When this mechanism fouls up, the properties
985 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
986 be used to control the beam subdivision on a stem. If you set either
987 property, it's value will be used only once, and then it is erased.
989 @lilypond[fragment,relative,verbatim]
992 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
995 @cindex @code{stemRightBeamCount}
997 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
998 beams) can be tweaked through grob-properties @code{height} and
999 @code{staff-position}. These specify vertical location and vertical
1000 span. Both are measured in half staff-spaces, @code{staff-position=0}
1001 corresponds to the middle staff line.
1004 Set @code{height} to zero, to get horizontal beams:
1006 @lilypond[fragment,relative,verbatim]
1007 \property Voice.Beam \set #'direction = #1
1008 \property Voice.Beam \set #'height = #0
1012 Here's how you'd specify a weird looking beam that instead of being
1013 horizontal, falls two staff spaces:
1015 @lilypond[fragment,relative,verbatim]
1016 \property Voice.Beam \set #'staff-position = #4
1017 \property Voice.Beam \set #'height = #-4
1020 @cindex @code{default-neutral-direction}
1022 @node Expressive marks
1023 @section Expressive marks
1038 A slur indicates that notes are to be played bound or @emph{legato}.
1039 They are entered using parentheses:
1041 @lilypond[fragment,verbatim,center]
1042 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1046 Slurs avoid crossing stems, and are generally attached to note heads.
1047 However, in some situations with beams, slurs may be attached to stem
1048 ends. If you want to override this layout you can do this through the
1049 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
1050 pair of symbols, specifying the attachment type of the left and right end points.
1052 @lilypond[fragment,relative,verbatim]
1053 \property Voice.Slur \set #'direction = #1
1054 \property Voice.Stem \set #'length = #5.5
1056 \property Voice.Slur \set #'attachment = #'(stem . stem)
1060 If a slur would strike through a stem or beam, the slur will be moved
1061 away upward or downward. If this happens, attaching the slur to the
1062 stems might look better:
1064 @lilypond[fragment,relative,verbatim]
1065 \property Voice.Stem \set #'direction = #1
1066 \property Voice.Slur \set #'direction = #1
1068 \property Voice.Slur \set #'attachment = #'(stem . stem)
1073 Similarly, the curvature of a slur is adjusted to stay clear of note
1074 heads and stems. When that would increase the curvature too much, the
1075 slur is reverted to its default shape. The threshold for this decision
1076 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1077 related to the enclosed area between the slur and the notes. Usually,
1078 the default setting works well, but in some cases you may prefer a
1079 curved slur when LilyPond decides for a vertically moved one. You can
1080 indicate this preference by increasing the @code{beautiful} value:
1082 @lilypond[verbatim,singleline,relative]
1083 \property Voice.Beam \override #'direction = #-1
1084 \property Voice.Slur \override #'direction = #1
1085 c16( a' f' a a f a, )c,
1086 c( a' f' a a f d, )c
1087 \property Voice.Slur \override #'beautiful = #5.0
1088 c( a' f' a a f d, )c
1093 @code{beautiful} is an arbitrary parameter in the slur formatter.
1094 Useful values can only be determined by trial and error.
1096 @cindex Adjusting slurs
1098 @node Phrasing slurs
1099 @subsection Phrasing slurs
1101 @cindex phrasing slurs
1102 @cindex phrasing marks
1104 A phrasing slur (or phrasing mark) connects chords and is used to
1105 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1108 @lilypond[fragment,verbatim,center,relative]
1109 \time 6/4 c' \( ( d ) e f ( e ) \) d
1112 Typographically, the phrasing slur behaves almost exactly like a normal
1113 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1116 @subsection Breath marks
1118 Breath marks are entered using @code{\breathe}. The result is a
1119 @code{Voice.BreathingSign} grob.
1121 @lilypond[fragment,relative]
1130 Currently, only tick marks are supported, not comma style breath marks.
1137 @cindex beats per minute
1138 @cindex metronome marking
1140 Metronome settings can be entered as follows:
1142 @cindex @code{\tempo}
1144 \tempo @var{duration} = @var{perminute}
1147 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1152 The tempo setting is not printed, but is only used in the MIDI
1153 output. You can trick lily into producing a metronome mark,
1154 though. Details are in @ref{Text markup}.
1159 @subsection Text spanners
1160 @cindex Text spanners
1162 Some textual indications, e.g. rallentando or accelerando, often extend
1163 over many measures. This is indicated by following the text with a
1164 dotted line. You can create such texts using text spanners. The syntax
1167 \spanrequest \start "text"
1168 \spanrequest \stop "text"
1170 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1171 string to be printed, as well as the style is set through grob
1174 An application---or rather, a hack---is to fake octavation indications.
1175 @lilypond[fragment,relative,verbatim]
1176 \relative c' { a''' b c a
1177 \property Voice.TextSpanner \set #'type = #'dotted-line
1178 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1179 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1180 \property Staff.centralCPosition = #-13
1181 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1199 @subsection Articulations
1200 @cindex Articulations
1202 @cindex articulations
1206 A variety of symbols can appear above and below notes to indicate
1207 different characteristics of the performance. These symbols can be
1208 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1209 are defined in @file{script.ly}. Symbols can be forced to appear above
1210 or below the note by writing `@var{note}@code{^\}@var{name}' and
1211 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1212 symbols on notes, with the name of the corresponding symbol appearing
1218 \property Score.LyricSyllable \override #'font-family =#'typewriter
1219 \property Score.LyricSyllable \override #'font-shape = #'upright
1220 \context Staff \notes {
1221 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1222 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1223 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1224 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1225 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1226 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1227 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1228 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1230 \context Lyrics \lyrics {
1231 accent__ marcato__ staccatissimo__ fermata
1232 stopped__ staccato__ tenuto__ upbow
1233 downbow__ lheel__ rheel__ ltoe
1234 rtoe__ turn__ open__ flageolet
1235 reverseturn__ trill__ prall__ mordent
1236 prallprall__ prallmordent__ uprall__ downprall
1237 upmordent__ downmordent__ pralldown__ prallup__
1238 lineprall__ thumb__ segno__ coda
1242 linewidth = 5.875\in
1248 To save typing work, some shorthands are available:
1249 @lilypond[singleline]
1251 \notes \context Voice {
1252 \property Voice.TextScript \set #'font-family = #'typewriter
1253 \property Voice.TextScript \set #'font-shape = #'upright
1259 c''4-^_"c-\\^{ }" s4
1266 Fingering instructions can also be entered in this shorthand.
1267 @lilypond[verbatim, singleline, fragment]
1268 c'4-1 c'4-2 c'4-3 c'4-4
1272 @cindex @code{\script}
1277 You can add scripts by editing @file{scm/script.scm}. This file contains
1278 a table, listing script definitions and aliases. The following syntax
1279 accesses a script definition from the table:
1285 Usually the @code{\script} keyword is not used directly. Various
1286 helpful identifier definitions appear in @file{script.ly}.
1288 Grobs for these objects are @code{Script} and @code{Fingering}.
1292 All of these note ornaments appear in the printed output but have no
1293 effect on the MIDI rendering of the music.
1295 Unfortunately, there is no support for adding fingering instructions or
1296 ornaments to individual note heads. Some hacks exist, though. See
1297 @file{input/test/script-horizontal.ly}.
1302 @subsection Text scripts
1303 @cindex Text scripts
1305 In addition, it is possible to place arbitrary strings of text or markup
1306 text (see @ref{Text markup}) above or below notes by using a string:
1309 By default, these indications do not influence the note spacing, but
1310 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1311 into account. The identifier @code{\fatText} is defined in the standard
1313 @lilypond[fragment,singleline,verbatim]
1314 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1317 Text scripts are created in form of @code{Voice.TextScript} grobs.
1319 @ref{Text markup} describes how to change the font or access
1320 special symbols in text scripts.
1324 @subsection Grace notes
1333 @cindex @code{\grace}
1336 @cindex @code{graceAlignPosition}
1338 Grace notes are ornaments that are written out, but do not take up any
1339 logical time in a measure. LilyPond has limited support for grace notes.
1340 The syntax is as follows.
1342 \grace @var{musicexpr}
1345 When grace music is interpreted, a score-within-a-score is set up:
1346 @var{musicexpr} has its own time bookkeeping, and you could (for
1347 example) have a separate time signature within the grace notes. While in
1348 this score-within-a-score, you can create notes, beams, slurs, etc.
1349 Unbeamed eighth notes and shorter by default have a slash through the
1352 @lilypond[fragment,verbatim]
1354 \grace c8 c4 \grace { [c16 c16] } c4
1356 \property Voice.Stem \override #'flag-style = #'()
1358 \property Voice.Stem \revert #'flag-style
1364 A grace note expression has duration 0; the next real note is assumed to
1365 be the main note. If you want the note to appear after the main note,
1366 set @code{Voice.graceAlignPosition} to @code{1}.
1370 At present, slurs or ties from the grace notes to the following notes
1371 are not supported. Also, nesting @code{\grace} notes is not
1372 supported. The following may cause run-time errors:
1374 @code{\grace @{ \grace c32 c16 @} c4}
1376 Since the meaning of such a construct is unclear, we don't consider this
1377 a loss. Similarly, juxtaposing two @code{\grace} sections is
1378 syntactically valid, but makes no sense and may cause runtime errors.
1379 Ending a staff or score with grace notes may also generate a run-time
1380 error, since there will be no main note to attach the grace notes to.
1382 The present implementation of grace notes is not robust and generally
1383 kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
1384 also be implemented.
1395 @subsection Glissando
1398 @cindex @code{\glissando}
1400 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1401 @code{\glissando} to a note:
1403 @lilypond[fragment,relative,verbatim]
1409 Printing of an additional text (such as @emph{gliss.}) must be done
1416 @subsection Dynamics
1429 @cindex @code{\ffff}
1439 Absolute dynamic marks are specified using an identifier after a
1440 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1441 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1442 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1443 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1445 @lilypond[verbatim,singleline,fragment,relative]
1446 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1452 @cindex @code{\decr}
1453 @cindex @code{\rced}
1459 A crescendo mark is started with @code{\cr} and terminated with
1460 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1461 started with @code{\decr} and terminated with @code{\rced}. There are
1462 also shorthands for these marks. A crescendo can be started with
1463 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1464 can be terminated with @code{\!}. Note that @code{\!} must go before
1465 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1466 after the last note. Because these marks are bound to notes, if you
1467 want several marks during one note, you have to use spacer notes.
1469 @lilypond[fragment,verbatim,center]
1470 c'' \< \! c'' d'' \decr e'' \rced
1471 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1474 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1475 is an example how to do it:
1480 @lilypond[fragment,relative,verbatim]
1482 \property Voice.crescendoText = "cresc."
1483 \property Voice.crescendoSpanner = #'dashed-line
1488 For everyday use, we recommend the identifiers @code{\cresc},
1489 @code{endcresc}, @code{\dim} and @code{\enddim}.
1493 Dynamics are grobs of @code{Voice.DynamicText} and
1494 @code{Voice.Hairpin}. They are put together on
1495 @code{Voice.DynamicLineSpanner} to align them vertically.
1504 @cindex @code{\repeat}
1506 To specify repeats, use the @code{\repeat} keyword. Since repeats
1507 should work differently when played or printed, there are a few
1508 different variants of repeats.
1512 Repeated music is fully written (played) out. Useful for MIDI
1513 output, and entering repetitive music.
1516 This is the normal notation: Repeats are not written out, but
1517 alternative endings (voltas) are printed, left to right.
1520 Alternative endings are written stacked. This has limited use but may be
1521 used to typeset two lines of lyrics in songs with repeats, see
1522 @file{input/star-spangled-banner.ly}.
1528 Make beat or measure repeats. These look like percent signs.
1534 * Manual repeat commands::
1536 * Tremolo subdivisions::
1541 @subsection Repeat syntax
1543 The syntax for repeats is
1546 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1549 If you have alternative endings, you may add
1550 @cindex @code{\alternative}
1552 \alternative @code{@{} @var{alternative1}
1554 @var{alternative3} @dots{} @code{@}}
1556 where each @var{alternative} is a music expression.
1558 Normal notation repeats are used like this:
1559 @lilypond[fragment,verbatim]
1561 \repeat volta 2 { c'4 d' e' f' }
1562 \repeat volta 2 { f' e' d' c' }
1565 With alternative endings:
1566 @lilypond[fragment,verbatim]
1568 \repeat volta 2 {c'4 d' e' f'}
1569 \alternative { {d'2 d'} {f' f} }
1572 Folded repeats look like this:
1575 @lilypond[fragment,verbatim]
1577 \repeat fold 2 {c'4 d' e' f'}
1578 \alternative { {d'2 d'} {f' f} }
1582 If you don't give enough alternatives for all of the repeats, then
1583 the first alternative is assumed to be repeated often enough to equal
1584 the specified number of repeats.
1586 @lilypond[fragment,verbatim]
1590 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1591 \alternative { { g4 g g } { a | a a a a | b2. } }
1598 Notice that timing information is not remembered at the start of an
1599 alternative, so you have to reset timing information after a repeat,
1600 e.g. using a bar-check (See @ref{Bar check}), setting
1601 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1602 are also not repeated.
1604 It is possible to nest @code{\repeat}s, although this probably is only
1605 meaningful for unfolded repeats.
1607 Folded repeats offer little more over simultaneous music. However, it
1608 is to be expected that more functionality -- especially for the MIDI
1609 backend -- will be implemented at some point in the future.
1611 Volta repeats are printed over all staves in a score. You must turn them
1612 off explicitly, for example by doing
1614 \property Staff.VoltaBracket = \turnOff
1616 in all but the top staff.
1618 @node Manual repeat commands
1619 @subsection Manual repeat commands
1621 @cindex @code{repeatCommands}
1623 The property @code{repeatCommands} can be used to control the layout of
1624 repeats. Its value is a Scheme list of repeat commands, where each repeat
1632 @item (volta . @var{text})
1633 Print a volta bracket saying @var{text}.
1635 Stop a running volta bracket
1638 @lilypond[verbatim, fragment]
1640 \property Score.repeatCommands = #'((volta "93") end-repeat)
1642 \property Score.repeatCommands = #'((volta #f))
1647 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1649 @node Tremolo repeats
1650 @subsection Tremolo repeats
1651 @cindex tremolo beams
1653 To place tremolo marks between notes, use @code{\repeat} with tremolo
1655 @lilypond[verbatim,center,singleline]
1657 \context Voice \notes\relative c' {
1658 \repeat "tremolo" 8 { c16 d16 }
1659 \repeat "tremolo" 4 { c16 d16 }
1660 \repeat "tremolo" 2 { c16 d16 }
1661 \repeat "tremolo" 4 c16
1666 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1667 @code{Voice.StemTremolo}.
1672 At present, the spacing between tremolo beams is not regular, since the
1673 spacing engine does not notice that not all notes are printed.
1675 @node Tremolo subdivisions
1676 @subsection Tremolo subdivisions
1677 @cindex tremolo marks
1678 @cindex @code{tremoloFlags}
1680 Tremolo marks can be printed on a single note by adding
1681 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1682 A @var{length} value of 8 gives one line across the note stem. If the
1683 length is omitted, then then the last value (stored in
1684 @code{Voice.tremoloFlags}) is used.
1686 @lilypond[verbatim,fragment,center]
1687 c'2:8 c':32 | c': c': |
1693 Tremolos in this style do not carry over into the MIDI output.
1696 @node Measure repeats
1697 @subsection Measure repeats
1699 @cindex percent repeats
1700 @cindex measure repeats
1702 In the @code{percent} style, a note pattern can be repeated. It is
1703 printed once, and then the pattern is replaced with a special sign.
1704 Patterns of a one and two measures are replaced by percent-like signs,
1705 patterns that divide the measure length are replaced by slashes.
1707 @lilypond[verbatim,singleline]
1708 \context Voice { \repeat "percent" 4 { c'4 }
1709 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1713 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1714 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1718 You can not nest percent repeats, e.g. by filling in the first measure
1719 with slashes, and repeating that measure with percents.
1721 @node Rhythmic music
1722 @section Rhythmic music
1729 @node Rhythmic staves
1730 @subsection Rhythmic staves
1732 Sometimes you might want to show only the rhythm of a melody. This can
1733 be done with the rhythmic staff. All pitches of notes on such a staff
1734 are squashed, and the staff itself looks has a single staff line:
1736 @lilypond[fragment,relative,verbatim]
1737 \context RhythmicStaff {
1739 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1746 @section Piano music
1748 Piano music is an odd type of notation. Piano staves are two normal
1749 staves coupled with a brace. The staves are largely independent, but
1750 sometimes voices can cross between the two staves. The
1751 @code{PianoStaff} is especially built to handle this cross-staffing
1752 behavior. In this section we discuss the @code{PianoStaff} and some
1753 other pianistic peculiarities.
1756 * Automatic staff changes::
1757 * Manual staff switches::
1760 * Voice follower lines::
1764 @c . {Automatic staff changes}
1765 @node Automatic staff changes
1766 @subsection Automatic staff changes
1767 @cindex Automatic staff changes
1769 Voices can switch automatically between the top and the bottom
1770 staff. The syntax for this is
1772 \autochange @var{contexttype} @var{musicexp}
1774 This will switch the interpretation context of @var{musicexp} between a
1775 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1776 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1777 of pitch (central C is the turning point), and it looks ahead skipping
1778 over rests to switch rests in advance.
1780 @lilypond[verbatim,singleline]
1781 \score { \notes \context PianoStaff <
1782 \context Staff = "up" {
1783 \autochange Staff \context Voice = VA < \relative c' {
1784 g4 a b c d r4 a g } > }
1785 \context Staff = "down" {
1791 Note how spacer rests are used to prevent the bottom staff from
1792 terminating too soon.
1795 @node Manual staff switches
1796 @subsection Manual staff switches
1798 @cindex manual staff switches
1799 @cindex staff switch, manual
1801 Voices can be switched between staves manually, using the following command:
1803 \translator Staff = @var{staffname} @var{music}
1805 The string @var{staffname} is the name of the staff. It switches the
1806 current voice from its current staff to the Staff called
1807 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1810 The formal definition of this construct is obtuse, but for the sake of
1811 completeness we give it here.
1812 @cindex @code{\translator}
1814 \translator @var{contexttype} = @var{name}
1816 Formally, this construct is a music expression indicating
1817 that the context which is a direct child of the context of type
1818 @var{contexttype} should be shifted to a context of type
1819 @var{contexttype} and the specified name.
1827 Piano pedal instruction can be expressed using
1828 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1829 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1831 These identifiers are shorthands for spanner commands of the types
1832 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1834 @lilypond[fragment,verbatim]
1835 c''4 \spanrequest \start "Sustain" c''4
1836 c''4 \spanrequest \stop "Sustain"
1839 The symbols that are printed can be modified by setting
1840 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1841 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1847 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1853 @subsection Arpeggio
1856 @cindex broken arpeggio
1857 @cindex @code{\arpeggio}
1859 You can specify an arpeggio sign on a chord by attaching an
1860 @code{\arpeggio} to a note of the chord.
1863 @lilypond[fragment,relative,verbatim]
1864 \context Voice <c\arpeggio e g c>
1867 When an arpeggio crosses staves in piano music, you attach an arpeggio
1868 to the chords in both staves, and set
1869 @code{PianoStaff.connectArpeggios}.
1871 @lilypond[fragment,relative,verbatim]
1872 \context PianoStaff <
1873 \property PianoStaff.connectArpeggios = ##t
1874 \context Voice = one { <c'\arpeggio e g c> }
1875 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1879 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1880 are @code{PianoStaff.Arpeggio}.
1884 It is not possible to mix connected arpeggios and unconnected arpeggios
1889 @node Voice follower lines
1890 @subsection Voice follower lines
1892 @cindex follow voice
1893 @cindex staff switching
1896 @cindex @code{followVoice}
1898 Whenever a voice switches to another staff a line connecting the notes
1899 can be printed automatically. This is enabled if the property
1900 @code{PianoStaff.followVoice} is set to true:
1902 @lilypond[fragment,relative,verbatim]
1903 \context PianoStaff <
1904 \property PianoStaff.followVoice = ##t
1905 \context Staff \context Voice {
1907 \translator Staff=two
1910 \context Staff=two {\clef bass \skip 1*2 }
1914 The associated grob is @code{Voice.VoiceFollower}.
1924 * Automatic syllable durations::
1930 @subsection Lyrics mode
1933 To print lyrics, you must first make a music expression from the lyric
1934 text. That music expression can be printed by selecting an appropriate
1938 @cindex @code{\lyrics}
1940 You can enter lyrics in a special input mode of LilyPond. This mode is
1941 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1942 The purpose of this mode is that you can enter lyrics as plain text,
1943 punctuation and accents without any hassle.
1945 Syllables are entered like notes, with pitches replaced by text. For
1946 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1947 the hyphen has no special meaning for lyrics, and does not introduce
1950 Spaces can be introduced into a lyric either by using quotes:
1951 @code{"He could"4 not4} or by using an underscore without quotes:
1952 @code{He_could4 not4}. All unquoted underscores are converted to
1955 The precise definition of this mode can be found in @ref{Lyrics mode
1958 @c . {Printing lyrics}
1959 @node Printing lyrics
1960 @subsection Printing lyrics
1963 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1965 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
1967 @lilypond[verbatim,singleline]
1968 \addlyrics \notes \relative c' {
1970 \property Staff.automaticMelismata = ##t
1971 d'2 c4 b16 ( a g a b a b ) c a2
1972 b2 c4 b8 ( a16 g ) a4 g2 }
1973 \context Lyrics \lyrics {
1975 share the soft -- ware; }
1979 Notes and syllable durations are matched automatically. This is
1980 accomplished using @code{\addlyrics}, which is documented in
1981 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1982 the melody staff will cause slurs to be interpreted as melismata.
1984 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1987 @cindex lyric extender
1990 As you can see, extender lines are entered as @code{__}. This will
1991 create an extender, a line that extends over the entire duration of the
1992 lyric. This line will run all the way to the start of the next lyric,
1993 so you may want to shorten it by using a blank lyric (using @code{_}).
1994 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1999 If you want to have hyphens centered between syllables (rather than
2000 attached to the end of the first syllable) you can use the special
2001 `@code{-}@code{-}' lyric as a separate word between syllables. This
2002 will result in a hyphen whose length varies depending on the space
2003 between syllables. It will be centered between the syllables. The grob
2004 for this symbol is @code{LyricsVoice.LyricHyphen}.
2006 @cindex Lyric hyphen
2008 @node Automatic syllable durations
2009 @subsection Automatic syllable durations
2010 @cindex Automatic syllable durations
2012 @cindex automatic lyric durations
2013 @cindex @code{\addlyrics}
2015 If you have lyrics that are set to a melody, you can copy the rhythm
2016 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2019 \addlyrics @var{musicexpr1 musicexpr2}
2022 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2023 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2024 when there are events in @var{musicexpr1}.
2026 @cindex @code{automaticMelismata}
2028 If the property @code{automaticMelismata} is set in the
2029 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2032 @lilypond[verbatim,fragment]
2035 \property Voice.automaticMelismata = ##t
2036 c8 () cis d8. e16 f2
2038 \context Lyrics \lyrics {
2042 If you want the lyric lines to be above the melody staff, or in some
2043 other, more complex configuration, then build that configuration first
2044 using simultaneous music, and use @code{\addlyrics} after that.
2046 @lilypond[verbatim, singleline]
2048 \context Lyrics = LA { s1 }
2049 \context Staff = SA { s1 }
2051 \context Staff = SA \relative c' { c4 e g g }
2052 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2055 For @code{\addlyrics} you should use a single rhythm melody, and single
2056 rhythm lyrics (a constant duration is the obvious choice). If you do
2057 not, you can get undesired effects when using multiple stanzas:
2059 @lilypond[verbatim,fragment]
2062 c8 () cis d8. e16 f2
2064 \context Lyrics \lyrics
2069 It is valid (but probably not very useful) to use notes instead of
2070 lyrics for @var{musicexpr2}.
2073 @subsection More stanzas
2077 If you have multiple stanzas printed underneath each other, the vertical
2078 groups of syllables should be aligned around punctuation. LilyPond can
2079 do this if you tell it which lyric lines belong to which melody.
2081 To this end, give the Voice context an identity, and set the LyricsVoice
2082 to a name starting with that identity followed by a dash.
2083 In the following example, the Voice
2084 identity is @code{duet}, and the identities of the LyricsVoices are
2085 @code{duet-1} and @code{duet-2}.
2088 @lilypond[singleline,verbatim]
2091 \notes \relative c'' \context Voice = duet { \time 3/4
2093 \lyrics \context Lyrics <
2094 \context LyricsVoice = "duet-1" {
2095 \property LyricsVoice . stanza = "Bert"
2096 Hi, my name is bert. }
2097 \context LyricsVoice = "duet-2" {
2098 \property LyricsVoice . stanza = "Ernie"
2099 Ooooo, ch\'e -- ri, je t'aime. }
2104 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2105 first system) and @code{LyricsVoice.stz} for the following
2106 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2112 @cindex stanza numbering
2120 LilyPond has support for both entering and printing chords. Chords are
2121 characterized by a set of pitches. They are
2122 internally stored as simultaneous music expressions. This means you can
2123 enter chords by name and print them as note head, enter them as notes
2124 and print them as chord names, or (the most common case) enter them by
2125 name, and print them as name.
2128 @lilypond[verbatim,singleline]
2129 twoWays = \notes \transpose c'' {
2139 < \context ChordNames \twoWays
2140 \context Voice \twoWays > }
2143 Note that this example also shows that the chord printing routines do
2144 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2145 interpret this as an inversion.
2149 * Printing named chords::
2154 @subsection Chords mode
2157 Chord mode is a mode where you can input sets of pitches using common
2158 names. It is introduced by the keyword @code{\chords}. It is similar
2159 to note mode, but words are also looked up in a chord modifier table
2160 (containing @code{maj}, @code{dim}, etc).
2162 Dashes and carets are used to indicate chord additions and subtractions,
2163 so articulation scripts can not be entered in Chord mode.
2165 The syntax for named chords is as follows:
2167 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2170 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2171 the chord duration in the usual notation. There are two kinds of
2172 modifiers. One type is formed by @emph{chord additions}. Additions are
2173 obtained by listing intervals separated by dots. An interval is written
2174 by its number with an optional @code{+} or @code{-} to indicate raising
2175 or lowering by half a step. Chord additions have two effects: they adds
2176 the specified interval and all lower odd numbered intervals to the
2177 chord, and they may lower or raise the specified interval.
2179 Throughout these examples, chords have been shifted around the staff
2180 using @code{\transpose}.
2182 @lilypond[fragment,verbatim]
2186 c:9 c:9-.5+.7+ c:3-.5-
2196 The second type of modifier that may appear after the @code{:} is a
2197 named modifier. Named modifiers are listed in the file
2198 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2199 @code{min} which lower the 3rd half a step, `@code{aug}' which
2200 raises the 5th, `@code{dim}' which lowers the 5th,
2201 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2202 which replaces the 5th with a 4th.
2204 @lilypond[fragment,verbatim]
2207 c1:m c:min7 c:maj c:aug c:dim c:sus
2213 Chord subtractions are used to eliminate notes from a chord. The
2214 notes to be subtracted are listed after a @code{^} character,
2217 @lilypond[fragment,verbatim,center]
2226 Chord inversions can be specified by appending `@code{/}' and the name
2227 of a single note to a chord. In a chord inversion, the inverted note is
2228 transposed down until it is the lowest note in the chord. If the note
2229 is not in the chord, a warning will be printed.
2231 @lilypond[fragment,verbatim,center]
2241 Bass notes can be added by `@code{/+}' and
2242 the name of a single note to a chord. This has the effect of
2243 adding the specified note to the chord, lowered by an octave,
2244 so it becomes the lowest note in the chord.
2246 @lilypond[fragment,verbatim,center]
2257 Implementation details are quite gory. For example @code{c:4} not only
2258 adds a fourth, but also removes the third.
2261 @c . {Printing named chords}
2262 @node Printing named chords
2263 @subsection Printing named chords
2265 @cindex printing chord names
2268 @cindex @code{ChordNames}
2271 For displaying printed chord names, use the @code{ChordNames} context.
2272 The chords may be entered either using the notation described above, or
2273 directly using simultaneous music.
2275 @lilypond[verbatim,singleline]
2277 \chords {a1 b c} <d f g> <e g b>
2281 \context ChordNames \scheme
2282 \context Staff \transpose c'' \scheme
2287 You can make the chord changes stand out by setting
2288 @code{ChordNames.chordChanges} to true. This will only display chord
2289 names when there's a change in the chords scheme and at the start of a
2294 c1:m c:m \break c:m c:m d
2298 \context ChordNames {
2299 \property ChordNames.chordChanges = ##t
2301 \context Staff \transpose c'' \scheme
2305 LilyPond examines chords specified as lists of notes to determine a name
2306 to give the chord. LilyPond will not try to identify chord inversions or
2307 an added bass note, which may result in strange chord names when chords
2308 are entered as a list of pitches:
2310 @lilypond[verbatim,center,singleline]
2319 \context ChordNames \scheme
2320 \context Staff \scheme
2326 By default, a chord name system proposed by Harald Banter (See
2327 @ref{Literature}) is used. The system is very regular and predictable.
2328 Typical American style chord names may be selected by setting the
2329 @code{style} property of the @code{ChordNames.ChordName} grob to
2330 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2332 Routines that determine the names to be printed are written in Scheme,
2333 and may be customized by the user. The code can be found in
2334 @file{scm/chord-name.scm}. Here's an example showing the differences in
2338 @c maybe just junk verbatim option?
2339 @lilypond[verbatim,singleline]
2349 \context ChordNames = banter \scheme
2350 \context ChordNames = american {
2351 \property ChordNames.ChordName \override
2352 #'style = #'american \scheme }
2353 \context ChordNames = jazz {
2354 \property ChordNames.ChordName \override
2355 #'style = #'jazz \scheme }
2356 \context Staff \transpose c'' \scheme
2363 @section Writing parts
2365 Orchestral music involves some special notation, both in the full score,
2366 as in the individual parts. This section explains how to tackle common
2367 problems in orchestral music.
2374 * Instrument names::
2376 * Sound output for transposing instruments::
2377 * Multi measure rests::
2378 * Automatic part combining::
2379 * Hara kiri staves::
2382 @c . {Rehearsal marks}
2383 @node Rehearsal marks
2384 @subsection Rehearsal marks
2385 @cindex Rehearsal marks
2387 @cindex @code{\mark}
2388 @cindex @code{Mark_engraver}
2391 \mark @var{unsigned}
2396 This command prints a rehearsal mark above the system. You can provide
2397 a number, a string or a markup text as argument. If you use
2398 @code{\default}, the value of property @code{rehearsalMark} is used and
2399 automatically incremented.
2401 @lilypond[fragment,verbatim]
2407 c1 \mark #'(music "scripts-segno")
2412 The grob is @code{Score.RehearsalMark}. See
2413 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2416 @subsection Bar numbers
2418 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2419 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2423 It is not possible to have bar numbers printed at regular intervals
2426 @node Instrument names
2427 @subsection Instrument names
2429 You can specify an instrument name for a staff by setting
2430 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2431 before the start of the staff. For the first start, @code{instrument} is
2432 used, for the next ones @code{instr} is used.
2434 @lilypond[verbatim,singleline]
2435 \property Staff.instrument = "ploink " { c''4 }
2438 You can also use markup texts to construct more complicated instrument
2442 @lilypond[verbatim,singleline]
2444 '((font-relative-size . -2 ) (music "accidentals--1")))
2447 \property Staff.instrument = #`((kern . 0.5) (lines
2448 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2456 When you put a name on a grand staff or piano staff the width of the
2457 brace is not taken into account. You must add extra spaces to the end of
2458 the name to avoid a collision.
2461 @subsection Transpose
2463 @cindex transposition of pitches
2464 @cindex @code{\transpose}
2466 A music expression can be transposed with @code{\transpose}. The syntax
2469 \transpose @var{pitch} @var{musicexpr}
2472 This means that middle C in @var{musicexpr} is transposed to
2475 @code{\transpose} distinguishes between enharmonic pitches: both
2476 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2477 a tone. The first version will print sharps and the second version
2480 @lilypond[fragment,verbatim]
2483 { \key e \major c d e f }
2485 \transpose des'' { \key e \major c d e f }
2486 \transpose cis'' { \key e \major c d e f }
2490 If you want to use both @code{\transpose} and @code{\relative}, then
2491 you must use @code{\transpose} first. @code{\relative} will have no
2492 effect music that appears inside a @code{\transpose}.
2494 @node Sound output for transposing instruments
2495 @subsection Sound output transposing instruments
2497 When you want to make a MIDI file from a score containing transposed and
2499 instruments, you have to instruct LilyPond the pitch offset (in
2500 semitones) for the transposed instruments. This is done using the
2501 @code{transposing} property. It does not affect printed output.
2503 @cindex @code{transposing}
2506 \property Staff.instrument = #"Cl. in B-flat"
2507 \property Staff.transposing = #-2
2510 @c . {Multi measure rests}
2511 @node Multi measure rests
2512 @subsection Multi measure rests
2513 @cindex Multi measure rests
2517 Multi measure rests are entered using `@code{R}'. It is specifically
2518 meant for full bar rests and for entering parts: the rest can expand to
2520 rests, or it can be printed as a single multimeasure rest This expansion
2521 is controlled by the property @code{Score.skipBars}. If this is set to true,
2522 Lily will not expand empty measures, and the appropriate number is added
2525 @lilypond[fragment,verbatim]
2526 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2529 Notice that the @code{R2.} is printed as a whole rest, centered in the
2532 @cindex whole rests for a full measure
2536 Currently, there is no way to automatically condense multiple rests into
2537 a single multimeasure rest.
2539 @cindex condensing rests
2541 @node Automatic part combining
2542 @subsection Automatic part combining
2543 @cindex automatic part combining
2544 @cindex part combiner
2547 Automatic part combining is used to merge two parts of music onto a
2548 staff in an intelligent way. It is aimed primarily at typesetting
2549 orchestral scores. When the two parts are identical for a period of
2550 time, only one is shown. In places where the two parts differ, they are
2551 typeset as separate voices, and stem directions are set automatically.
2552 Also, solo and @emph{a due} parts can be identified and marked.
2554 The syntax for part combining is
2557 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2559 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2560 combined into one context of type @var{context}. The music expressions
2561 must be interpreted by contexts whose names should start with @code{one}
2564 The most useful function of the part combiner is to combine parts into
2565 one voice, as common for wind parts in orchestral scores:
2567 @lilypond[verbatim,singleline,fragment]
2569 \context Voice=one \partcombine Voice
2570 \context Thread=one \relative c'' {
2573 \context Thread=two \relative c'' {
2579 Notice that the first @code{g} appears only once, although it was
2580 specified twice (once in each part). Stem, slur and tie directions are
2581 set automatically, depending whether there is a solo or unisono. The
2582 first part (with context called @code{one}) always gets up stems, and
2583 `solo', while the second (called @code{two}) always gets down stems and
2586 If you just want the merging parts, and not the textual markings, you
2587 may set the property @var{soloADue} to false.
2589 @lilypond[verbatim,singleline,fragment]
2591 \property Staff.soloADue = ##f
2592 \context Voice=one \partcombine Voice
2593 \context Thread=one \relative c'' {
2596 \context Thread=two \relative c'' {
2602 There are a number of other properties that you can use to tweak the
2603 behavior of part combining, refer to the automatically generated
2604 documentation of @reng{Thread_devnull_engraver} and
2605 @reng{Voice_devnull_engraver}. Look at the documentation of the
2606 responsible engravers, @code{Thread_devnull_engraver},
2607 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2611 In @code{soloADue} mode, when the two voices play the same notes on and
2612 off, the part combiner may typeset @code{a2} more than once in a
2615 @lilypond[fragment,singleline]
2617 \context Voice=one \partcombine Voice
2618 \context Thread=one \relative c'' {
2621 \context Thread=two \relative c'' {
2627 @cindex @code{Thread_devnull_engraver}
2628 @cindex @code{Voice_engraver}
2629 @cindex @code{A2_engraver}
2631 @node Hara kiri staves
2632 @subsection Hara kiri staves
2634 In orchestral scores, staff lines that only have rests are usually removed.
2635 This saves some space. LilyPond also supports this through the hara
2636 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2637 the Japanese Samourai warriors.} staff. This staff commits suicide when
2638 it finds itself to be empty after the line-breaking process. It will
2639 not disappear when it contains normal rests, you must use multi measure
2642 The hara kiri staff is specialized version of the Staff context. It is
2643 available as the context identifier @code{\HaraKiriStaffContext}.
2644 Observe how the second staff in this example disappears in the second
2649 \notes \relative c' <
2650 \context Staff = SA { e4 f g a \break c1 }
2651 \context Staff = SB { c4 d e f \break R1 }
2655 \translator { \HaraKiriStaffContext }
2668 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2669 staff context symbol that appears at the end of a staff line. It
2670 anticipates the pitch of the first note(s) of the following line and
2671 thus helps the player or singer to manage line breaks during
2672 performance, thus enhancing readability of a score.
2677 \property Staff.Custos \set #'style = #'mensural
2682 \consists Custos_engraver
2688 Custodes were frequently used in music notation until the 17th century.
2689 There were different appearances for different notation styles.
2690 Nowadays, they have survived only in special forms of musical notation
2691 such as via the @emph{editio vaticana} dating back to the beginning of
2694 For typesetting custodes, just put a @code{Custos_engraver} into the
2695 @code{StaffContext} when declaring the @code{\paper} block. In this
2696 block, you can also globally control the appearance of the custos symbol
2697 by setting the custos @code{style} property. Currently supported styles
2698 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2705 \consists Custos_engraver
2706 Custos \override #'style = #'mensural
2711 The property can also be set locally, for example in a @code{\notes}
2716 \property Staff.Custos \override #'style = #'vaticana
2717 c'1 d' e' d' \break c' d' e' d'
2721 @c . {Tuning output}
2723 @section Tuning output
2725 LilyPond tries to take as much formatting as possible out of your
2726 hands. Nevertheless, there are situations where it needs some help, or
2727 where you want to override its decisions. In this section we discuss
2728 ways to do just that.
2730 Formatting is internally done by manipulating so called grobs (graphic
2731 objects). Each grob carries with it a set of properties (grob
2732 properties) specific to that object. For example, a stem grob has
2733 properties that specify its direction, length and thickness.
2735 The most direct way of tuning the output is by altering the values of
2736 these properties. There are two ways of doing that: first, you can
2737 temporarily change the definition of a certain type of grob, thus
2738 affecting a whole set of objects. Second, you can select one specific
2739 object, and set a grob property in that object.
2742 * Tuning groups of grobs ::
2743 * Tuning per grob ::
2751 @node Tuning groups of grobs
2752 @subsection Tuning groups of grobs
2754 @cindex grob description
2758 A grob definition is a Scheme association list, that is stored in a
2759 context property. By assigning to that property (using plain
2760 @code{\property}), you can change the resulting grobs.
2762 @lilypond[verbatim, fragment]
2763 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2766 The @code{\property} assignment effectively empties the definition of
2767 the Stem object. One of the effects is that the recipe of how it should be
2768 printed is erased, with the effect of rendering it invisible. The above
2769 assignment is available as a standard identifier, for the case that you
2773 \property Voice.Stem = \turnOff
2780 This mechanism is fairly crude, since you can only set, but not modify,
2781 the definition of a grob. For this reason, there is a more advanced
2784 The definition of a grob is actually a list of default grob
2785 properties. For example, the definition of the Stem grob (available in
2786 @file{scm/grob-description.scm}), defines the following values for
2791 (beamed-lengths . (0.0 2.5 2.0 1.5))
2792 (Y-extent-callback . ,Stem::height)
2796 You can add a property on top of the existing definition, or remove a
2797 property, thus overriding the system defaults:
2799 c'4 \property Voice.Stem \override #'thickness = #4.0
2800 c'4 \property Voice.Stem \revert #'thickness
2803 You should balance @code{\override} and @code{\revert}. If that's too
2804 much work, you can use the @code{\set} shorthand. It performs a revert
2805 followed by an override. The following example gives exactly the same
2806 result as the previous one.
2808 c'4 \property Voice.Stem \set #'thickness = #4.0
2809 c'4 \property Voice.Stem \set #'thickness = #0.8
2812 If you use @code{\set}, you must explicitly restore the default.
2815 Formally the syntax for these constructions is
2817 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2818 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2819 \property @var{context}.@var{grobname} \revert @var{symbol}
2821 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2822 and @var{grobname} are strings and @var{value} is a Scheme expression.
2825 If you revert a setting which was not set in the first place, then it
2826 has no effect. However, if the setting was set as a system default, it
2827 may remove the default value, and this may give surprising results,
2828 including crashes. In other words, @code{\override} and @code{\revert},
2829 must be carefully balanced.
2831 These are examples of correct nesting of @code{\override}, @code{\set},
2834 A clumsy but correct form:
2836 \override \revert \override \revert \override \revert
2839 Shorter version of the same:
2841 \override \set \set \revert
2844 A short form, using only @code{\set}. This requires you to know the
2847 \set \set \set \set @var{to default value}
2850 If there is no default (i.e. by default, the grob property is unset),
2853 \set \set \set \revert
2856 For the digirati, the grob description is an Scheme association
2857 list. Since a Scheme list is a singly linked list, we can treat it as a
2858 stack, and @code{\override} and @code{\revert} are just push and pop
2859 operations. This pushing and popping is also used for overriding
2860 automatic beaming settings.
2864 LilyPond will hang or crash if @var{value} contains cyclic references.
2865 The backend is not very strict in type-checking grob properties. If you
2866 @code{\revert} properties that are expected to be set by default,
2869 Some grobs are created at the moment that their context is created. An
2870 example of such a grob is the staff itself (i.e. the horizontal lines).
2871 You can not change the appearance of the staff symbol by manipulating
2872 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2873 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2874 created before any @code{\override} is effective. You can deal with this
2875 either overriding properties in a @code{\translator} definition, or by
2876 using @code{\outputproperty}.
2881 @node Tuning per grob
2882 @subsection Tuning per grob
2884 @cindex \outputproperty
2886 A second way of tuning grobs is the more arcane @code{\outputproperty}
2887 feature. The syntax is as follows:
2889 \outputproperty @var{predicate} @var{symbol} = @var{value}
2891 Here @code{predicate} is a Scheme function taking a grob argument, and
2892 returning a boolean. This statement is processed by the
2893 @code{Output_property_engraver}. It instructs the engraver to feed all
2894 grobs that it sees to @var{predicate}. Whenever the predicate returns
2895 true, the grob property @var{symbol} will be set to @var{value}.
2897 You will need to combine this statement with @code{\context} to select
2898 the appropriate context to apply this to.
2900 Here are some random examples.
2903 In the following example, all note heads occurring at current staff
2904 level, are shifted up and right by setting their @code{extra-offset}
2907 @lilypond[fragment,verbatim,singleline]
2909 \context Staff \outputproperty
2910 #(make-type-checker 'note-head-interface)
2911 #'extra-offset = #'(0.5 . 0.75)
2915 @cindex @code{extra-offset}
2917 In this example, the predicate checks the @code{text} grob property, to
2918 shift only the `m.d.' text, but not the fingering instruction "2".
2919 @lilypond[verbatim,singleline]
2920 #(define (make-text-checker text)
2921 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2924 \notes\relative c''' {
2925 \property Voice.Stem \set #'direction = #1
2926 \outputproperty #(make-text-checker "m.d.")
2927 #'extra-offset = #'(-3.5 . -4.5)
2935 If possible, avoid this feature: the semantics are not very clean, and
2936 the syntax and semantics are up for rewrite.
2942 @subsection What to tune?
2944 This all tells you how to tune grobs, but you don't know what variables
2945 to set? The question is not answered in this part of the manual
2946 (although you may encounter some examples.).
2948 Grob properties are tied directly to the implementation of LilyPond, and
2949 they are thus a moving target. Documentation of such variables is in the
2950 automatically generated documentation. Description of properties are
2951 generated from the source code for each version. This documentation is
2952 therefore more up to date. It should be available from the same place
2953 where you got this manual.
2955 To decide how to tune a grob, you need to find the following information
2958 which grob to modify
2960 which property to modify
2962 which context the grob comes from.
2965 Included with the automatically generated documentation is a master list
2966 of grobs. Selecting a grob will take you to an overview of the
2967 properties available for that grob.
2969 There is also a master list of contexts. Selecting one takes you to an
2970 overview of that context which lists which grob types are created there.
2973 @node Font selection
2974 @subsection Font selection
2976 Most graphics in LilyPond are composed of characters of fonts. You can
2977 alter the characteristics of the font by setting certain grob
2978 properties. The mechanism that is used for this resembles La@TeX{}'s New
2979 Font Selection Scheme. Within this scheme, a font is entirely
2980 characterized by its font name.
2982 For each grob that uses fonts (in other words, each grob that supports
2983 @code{font-interface}) a font-name must be selected before it can be
2984 printed. The font name is selected by looking at a number of grob
2989 A symbol indicating the general class of the typeface. Supported are
2990 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2991 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2992 signs) and @code{typewriter}
2995 A symbol indicating the shape of the font, there are typically several
2996 font shapes available for each font family. Choices are @code{italic},
2997 @code{caps} and @code{upright}
3000 A symbol indicating the series of the font. There are typically several
3001 font series for each font family and shape. Choices are @code{medium}
3004 @item font-relative-size
3005 A number indicating the size relative the standard size. For example,
3006 with 20pt staff height, relative size -1 corresponds to 16pt staff
3007 height, and relative size +1 corresponds to 23 pt staff height.
3009 @item font-design-size
3010 A number indicating the design size of the font.
3012 This is a feature of the Computer Modern Font: each point size has a
3013 slightly different design. Smaller design sizes are relatively wider,
3014 which enhances readability. Scalable type faces such TrueType and Adobe
3015 Type1 usually come as ``one design fits all sizes''.
3018 The name of the font, without the design size, e.g. @code{cmr},
3019 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3024 The font is selected by taking the first font that satisfies all
3025 qualifiers specified. You can override any of these fields through
3026 @code{\override} and @code{\revert}. The special value @code{*} matches
3027 any value for that qualifier.
3030 \property Lyrics.LyricText \override #'font-series = #'bold
3031 \property Lyrics.LyricText \override #'font-shape = #'*
3034 @cindex @code{font-style}
3036 There are also pre-cooked font selection qualifiers. These are selected
3037 through the grob property @code{font-style}. For example, the style
3038 @code{finger} selects family @code{number} and relative size @code{-3}.
3039 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3040 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3043 The style sheets and tables for selecting fonts are located in
3044 @file{scm/font.scm}. Refer to this file for more information.
3048 Relative size is not linked to any real size.
3050 There is no mechanism to select magnification of particular fonts,
3051 meaning that you don't have access to continuously scaled fonts. You
3052 can scale the entire output, of course, see @ref{Output scaling}.
3054 There is no style sheet provided for other fonts besides the @TeX{}
3057 @cindex font selection
3058 @cindex font magnification
3059 @cindex @code{font-interface}
3063 @subsection Text markup
3067 LilyPond has an internal mechanism to typeset texts. You can
3068 form text markup expressions by composing scheme expressions
3069 in the following way.
3071 @lilypond[verbatim, singleline]
3076 c^#'(italic "italic")
3077 d_#'((bold italic) "ff")
3079 f_#'(lines "one" (bold "two"))
3080 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3084 Normally, the Scheme markup text is stored in the @code{text} property
3085 of a grob. Formally, it is defined as follows:
3088 text: string | (head? text+)
3089 head: markup | (markup+)
3090 markup-item: property | abbrev
3091 property: (@var{key} . @var{value})
3092 abbrev: @code{columns lines roman music bold italic named super sub}
3093 @code{overstrike text finger volta timesig mmrest mark script}
3094 @code{large Large dynamic}
3097 The markup is broken down and converted into a list of grob properties,
3098 which are prepended to the property list. The @var{key}-@var{value}
3099 pair is a grob property. A list of properties available is included in
3100 the generated documentation for @rint{Text_interface}.
3102 The following abbreviations are currently defined:
3105 horizontal mode: set all text on one line (default)
3107 vertical mode: set every text on a new line
3111 selects the Feta font (the standard font for music notation glyphs),
3112 and uses named lookup
3119 lookup by character name
3121 plain text lookup (by character value)
3127 the next text or character overstrikes this one
3129 select fingering number fontstyle
3131 select volta number fontstyle
3133 select time signature number fontstyle
3135 select multi measure rest number fontstyle
3137 select mark number fontstyle
3139 select scriptsize roman fontstyle
3141 select large roman fontstyle
3143 select Large roman fontstyle
3145 select dynamics fontstyle
3149 @cindex metronome mark
3151 One practical application of complicated markup is to fake a metronome
3155 #(define note '(columns
3156 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3157 #(define eight-note `(columns ,note ((kern . -0.1)
3158 (music ((raise . 3.5) "flags-u3")))))
3159 #(define dotted-eight-note
3160 `(columns ,eight-note (music "dots-dot")))
3163 \notes\relative c'' {
3164 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3170 TextScript \override #'font-shape = #'upright
3176 @node Invisible grobs
3177 @subsection Invisible grobs
3178 @cindex invisible grobs
3182 ben nog steeds niet kapot van de informatiedichtheid hier.
3188 You can imagine a number of situations where you would want to make
3189 certain grobs not show up in the output. There may be aesthetic
3190 reasons, to make the output resemble an (old) manuscript as close as
3191 possible, or to make lessons or exercises for students.
3193 Grobs can be made invisible in a number of ways:
3195 Here's an example with blanked-out notes and stems:
3196 @lilypond[singleline,verbatim]
3198 \property Voice.NoteHead \override
3200 \property Voice.Stem \override
3201 #'transparent = ##t }
3204 \property Voice.NoteHead \revert #'transparent
3205 \property Voice.Stem \revert #'transparent }
3208 \notes\relative c'' {
3210 a b c b \blanknotes c \unblanknotes d
3214 This method makes the grobs invisible but they still take the normal space.
3215 To remove all traces of the grob, you can redefine the function
3219 \notes\relative c'' {
3222 as bes c bes c d \break
3223 \property Staff.KeySignature \override #'molecule-callback = #'()
3226 \paper{linewidth=5.0\cm indent=0}
3230 A very rigorous way of removing grobs from the whole score is to remove
3231 the engraver that creates them. For example,
3233 @lilypond[singleline,verbatim]
3234 \score {\notes { c'4 d'8 e'8 g2 }
3235 \paper { \translator {
3237 \remove Stem_engraver
3243 @subsection Dirty tricks
3244 @cindex embedded tex
3246 It is possible to use @TeX{} commands in the strings, but this should be
3247 avoided because it makes it impossible for LilyPond to compute the
3248 exact length of the string, which may lead to collisions. Also, @TeX{}
3249 commands won't work with direct PostScript output (see @ref{PostScript
3252 @lilypond[fragment,relative,verbatim]
3253 a'^"3 $\\times$ \\`a deux"
3256 You can also use raw PostScript commands embedded in text scripts. This
3257 offers ultimate flexibility, but requires you to learn PostScript.
3258 Currently, embedded PostScript will @strong{not} work with direct
3259 PostScript output. Note that all dimensions that you use are in staff
3264 \notes \relative c'' {
3265 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3266 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3267 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3271 \paper { linewidth = 70*\staffspace }
3278 @section Page layout
3281 The page layout is the combined product of LilyPond formatting notation,
3282 and (La)@TeX{} putting the notation on a page, including page breaks.
3283 The part of LilyPond is documented here.
3297 @subsection Paper block
3300 The most important output definition is the @code{\paper} block, for
3301 music notation. The syntax is
3304 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3307 where each of the items is one of
3310 @item An assignment.
3312 @item A context definition. See @ref{Interpretation context} for
3313 more information on context definitions.
3315 @item \stylesheet declaration. Its syntax is
3317 \stylesheet @var{alist}
3320 See @file{scm/font.scm} for details of @var{alist}.
3321 @item an @code{\elementdescriptions} declaration.
3323 \elementdescriptions @var{alist}
3325 See @file{scm/grob-description.scm} for details of
3326 @var{alist}. This command is not user-serviceable.
3330 @c . {Paper variables}
3331 @node Paper variables
3332 @subsection Paper variables
3333 @cindex Paper variables
3335 The paper block has some variables you may want to use or change:
3338 @cindex @code{indent}
3340 The indentation of the first line of music.
3341 @cindex @code{staffspace}
3343 @item @code{staffspace}
3344 The distance between two staff lines, calculated from the center
3347 @cindex @code{linewidth}
3348 @item @code{linewidth}
3349 Sets the width of the lines.
3351 If set to a negative value, a single unjustified line is produced.
3352 @c rename to singleLinePaper ?
3353 The shorthand @code{\singleLine} defines a default paper block that
3354 produces a single line.
3356 @cindex @code{textheight}
3358 @item @code{textheight}
3359 Sets the total height of the music on each page. Only used by
3362 @cindex @code{interscoreline}
3364 @item @code{interscoreline}
3365 Sets the spacing between systems. The default is 16pt.
3367 @cindex @code{interscorelinefill}
3369 @item @code{interscorelinefill}
3370 If set to a positive number, the distance between the score
3371 lines will stretch in order to fill the full page. In that
3372 case @code{interscoreline} specifies the minimum spacing.
3377 @cindex @code{stafflinethickness}
3379 @item @code{stafflinethickness}
3380 Determines the thickness of staff lines, and also acts as a scaling
3381 parameter for other line thicknesses.
3384 You may enter these dimension using units (@code{cm}, @code{in},
3385 @code{mm}, @code{pt}), or relative to another dimension
3387 linewidth = 20.0 * \staffspace
3394 @subsection Font size
3397 The Feta font provides musical symbols at six different sizes. These
3398 fonts are 11 point, 13 point, 16 point, 20 point,
3399 23 point, and 26 point. The point size of a font is the
3400 height of the five lines in a staff when displayed in the font.
3402 Definitions for these sizes are the files @file{paperSZ.ly}, where
3403 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3404 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3405 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3406 @code{paperTwentysix} are defined respectively. The default
3407 @code{\paper} block is also set.
3409 The font definitions are generated using a Scheme function. For more
3410 details, see the file @file{scm/font.scm}.
3416 @subsection Paper size
3421 @cindex @code{papersize}
3423 To change the paper size, you must first set the
3424 @code{papersize} variable at top level. Set it to
3425 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3426 specification, you must set the font as described above. If you want
3427 the default font, then use the 20 point font.
3431 \include "paper16.ly"
3434 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3435 will set the paper variables @code{hsize} and @code{vsize} (used by
3440 @subsection Line break
3443 @cindex breaking lines
3445 Line breaks are normally computed automatically. They are chosen such
3446 that the resulting spacing has low variation, and looks neither cramped
3449 Occasionally you might want to override the automatic breaks; you can do
3450 this by specifying @code{\break}. This will force a line break at this
3451 point. Do remember that line breaks can only occur at places where there
3452 are bar lines. If you want to have a line break where there is no
3453 bar line, you can force an invisible bar line by entering @code{\bar
3454 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3456 @cindex @code{\penalty}
3458 The @code{\break} and @code{\noBreak} commands are defined in terms of
3459 the penalty command:
3464 This encourages or discourages LilyPond to make a line break at this
3469 The scaling of the @code{\penalty} argument is not well-defined. The
3470 command is rather kludgey, and slated for rewriting.
3474 @subsection Page break
3477 @cindex breaking pages
3479 Page breaks are normally computed by @TeX{}, so they are not under
3480 direct control of LilyPond. However, you can insert a commands into the
3481 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3482 the command @code{\newpage}
3483 @cindex @code{\newpage}
3489 @c why do so difficult?
3490 @c maybe should explain contents of between-system.ly,
3491 @c but not now, we're talking about page breaks here.
3493 @c details, see the example file @file{input/test/between-systems.ly}
3496 @c . {Output scaling}
3497 @node Output scaling
3498 @subsection Output scaling
3513 There is no mechanism to select magnification of particular fonts,
3514 meaning that you don't have access to continuously scaled fonts.
3518 @c . {Output formats}
3519 @node Output formats
3520 @section Output formats
3522 LilyPond can output processed music in different output formats.
3526 * PostScript output::
3528 * ASCIIScript output::
3532 @subsection TeX output
3535 LilyPond will use @TeX{} by default. Even if you want to produce
3536 PostScript output for viewing or printing, you should normally have
3537 LilyPond produce @TeX{} first. The .tex output must be processed by
3538 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3539 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3540 used to generate the .dvi for you.
3544 Titling is not generated unless you use @file{ly2dvi}.
3547 @node PostScript output
3548 @subsection PostScript output
3549 @cindex PostScript output
3550 @cindex direct PostScript output
3552 LilyPond can produce PostScript directly, without going through @TeX{}.
3553 Currently, this is mainly useful if you cannot use TeX, because direct
3554 PostScript output has some problems; see Bugs below.
3557 $ lilypond -fps foo.ly
3558 GNU LilyPond 1.3.144
3559 Now processing: `foo.ly'
3561 Interpreting music...[3]
3562 Preprocessing elements...
3563 Calculating column positions...
3564 paper output to foo.ps...
3566 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3572 Text font selection is broken.
3574 The .ps file does not contain the .pfa font files. To print a .ps
3575 created through direct postscript output, you should prepend the
3576 necessary .pfa files to LilyPond's .ps output, or upload them to the
3577 printer before printing.
3579 The line height calculation is broken, you must set @var{lineheight} in
3580 the paperblock if you have more than one staff in your score, e.g.
3585 % Set line height to 40 staff spaces
3591 @subsection Scheme output
3592 @cindex Scheme output
3594 In the typesetting stage, LilyPond builds a page description, which is
3595 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3596 written, the page description is represented as Scheme expressions. You
3597 can also dump these Scheme expressions to a file, which may be
3598 convenient for debugging output routines. This is done with the Scheme
3602 $ lilypond -fscm foo.ly
3603 GNU LilyPond 1.3.144
3604 Now processing: `foo.ly'
3606 Interpreting music...[3]
3607 Preprocessing elements...
3608 Calculating column positions...
3609 paper output to foo.scm...
3612 ;;; Usage: guile -s x.scm > x.tex
3613 (primitive-load-path 'standalone.scm)
3617 $ guile -s foo.scm > foo.tex
3621 @node ASCIIScript output
3622 @subsection ASCIIScript output
3623 @cindex ASCIIScript output
3624 @cindex ascii script
3627 LilyPond can output ASCII Art. This is a two step process, LilyPond
3628 produces an ASCII description file, dubbed ASCIIScript (extension
3629 @file{.as}). ASCIIScript has a small and simple command set that
3630 includes font selection, character and string printing and line drawing
3631 commands. The program @file{as2text} is used to translate an .as file
3634 To produce ASCII Art, you must include an ASCII Art paper definition
3635 file in your .ly, one of:
3637 \include "paper-as5.ly"
3638 \include "paper-as9.ly"
3641 Here's an example use for ASCII Art output (the example file
3642 @file{as-email.ly} is included in the LilyPond distribution), the staff
3643 symbol has been made invisible:
3646 $ lilypond -fas as-email.ly
3647 GNU LilyPond 1.3.144
3648 Now processing: `as-email.ly'
3650 Interpreting music...[3]
3651 Preprocessing elements...
3652 Calculating column positions... [2]
3653 paper output to as-email.as...
3655 $ as2text as-email.as 2>/dev/null
3657 |/ |##|##| | | | | |
3658 /| | | | | |\ |\ |\ |\ |\ |
3659 / |_ 3 | | | | 5 | )| )| )| )| )|
3660 | /| \ 8 * * * | 8 * * * * * |
3670 The ASCII Art fonts are far from complete and not very well designed.
3671 It's easy to change the glyphs, though; if you think you can do better,
3672 have a look at @file{mf/*.af}.
3674 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3676 The poor looks of most ASCII Art output and its limited general
3677 usefulness gives ASCII Art output a low priority; it may be
3678 dropped in future versions.
3685 LilyPond can produce MIDI output. The performance lacks lots of
3686 interesting effects, such as swing, articulation, slurring, etc., but it
3687 is good enough for proof-hearing the music you have entered. Ties,
3688 dynamics and tempo changes are interpreted.
3690 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3691 levels. Dynamic marks translate to a fixed fraction of the available
3692 MIDI volume range, crescendi and decrescendi make the the volume vary
3693 linearly between their two extremities. The fractions be adjusted by
3694 overriding the @code{absolute-volume-alist} defined in
3695 @file{scm/midi.scm}.
3697 For each type of musical instrument (that MIDI supports), a volume range
3698 can be defined. This gives you basic equalizer control, which can
3699 enhance the quality of the MIDI output remarkably. You can add
3700 instruments and ranges or change the default settings by overriding the
3701 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3703 Both loudness controls are combined to produce the final MIDI volume.
3708 It is currently not possible to use the percussion channel (generally
3709 channel 10 of a MIDI file).
3713 * MIDI instrument names::
3718 @subsection MIDI block
3722 The MIDI block is analogous to the paper block, but it is somewhat
3723 simpler. The @code{\midi} block can contain:
3727 @item a @code{\tempo} definition
3728 @item context definitions
3731 Assignments in the @code{\midi} block are not allowed.
3735 @cindex context definition
3737 Context definitions follow precisely the same syntax as within the
3738 \paper block. Translation modules for sound are called performers.
3739 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3742 @node MIDI instrument names
3743 @subsection MIDI instrument names
3745 @cindex instrument names
3746 @cindex @code{Staff.midiInstrument}
3747 @cindex @code{Staff.instrument}
3749 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3750 property or, if that property is not set, the @code{Staff.instrument}
3751 property. The instrument name should be chosen from the list in
3752 @ref{MIDI instruments}.
3756 If the selected string does not exactly match, then LilyPond uses the
3757 default (Grand Piano). It is not possible to select an instrument by
3770 @section Music entry
3778 When entering music with LilyPond, it is easy to introduce errors. This
3779 section deals with tricks and features that help you enter music, and
3780 find and correct mistakes.
3784 @subsection Relative
3786 @cindex relative octave specification
3788 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3789 When you copy existing music, it is easy to accidentally put a pitch in
3790 the wrong octave and hard to find such an error. To prevent these
3791 errors, LilyPond features octave entry.
3793 @cindex @code{\relative}
3795 \relative @var{startpitch} @var{musicexpr}
3798 The octave of notes that appear in @var{musicexpr} are calculated as
3799 follows: If no octave changing marks are used, the basic interval
3800 between this and the last note is always taken to be a fourth or less
3801 (This distance is determined without regarding alterations; a
3802 @code{fisis} following a @code{ceses} will be put above the
3805 The octave changing marks @code{'} and @code{,} can be added to raise or
3806 lower the pitch by an extra octave. Upon entering relative mode, an
3807 absolute starting pitch must be specified that will act as the
3808 predecessor of the first note of @var{musicexpr}.
3810 Entering music that changes octave frequently is easy in relative mode.
3811 @lilypond[fragment,singleline,verbatim,center]
3817 And octave changing marks are used for intervals greater than a fourth.
3818 @lilypond[fragment,verbatim,center]
3820 c g c f, c' a, e'' }
3823 If the preceding item is a chord, the first note of the chord is used
3824 to determine the first note of the next chord. However, other notes
3825 within the second chord are determined by looking at the immediately
3828 @lilypond[fragment,verbatim,center]
3835 @cindex @code{\notes}
3837 The pitch after the @code{\relative} contains a note name. To parse
3838 the pitch as a note name, you have to be in note mode, so there must
3839 be a surrounding @code{\notes} keyword (which is not
3842 The relative conversion will not affect @code{\transpose},
3843 @code{\chords} or @code{\relative} sections in its argument. If you
3844 want to use relative within transposed music, you must place an
3845 additional @code{\relative} inside the @code{\transpose}.
3850 @subsection Bar check
3854 @cindex @code{barCheckNoSynchronize}
3858 Whenever a bar check is encountered during interpretation, a warning
3859 message is issued if it doesn't fall at a measure boundary. This can
3860 help you find errors in the input. Depending on the value of
3861 @code{barCheckNoSynchronize}, the beginning of the measure will be
3862 relocated, so this can also be used to shorten measures.
3864 A bar check is entered using the bar symbol, @code{|}:
3866 \time 3/4 c2 e4 | g2.
3869 @c . {Point and click}
3870 @node Point and click
3871 @subsection Point and click
3873 Point and click lets you find notes in the input by clicking on them in
3874 the Xdvi window. This makes it very easy to find input that causes some
3875 error in the sheet music.
3877 To use it, you need the following software
3879 @unnumberedsubsec Installation
3883 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3884 Xdvi} version 22.36 or newer.
3886 Note that most @TeX{} distributions ship with xdvik, which is a
3887 different and less well maintained program. To find out which xdvi you
3888 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3892 Xdvi must be configured to find the TeX fonts and music
3893 fonts. Refer to the Xdvi documentation for more information.
3896 @unnumberedsubsec Using it
3898 Add one of these lines to the top of your .ly file. The first one is for
3899 line location only. The second one is more convenient, but requires
3900 patching @code{emacsclient} and @code{server.el}.
3903 #(set! point-and-click line-location)
3906 In the emacs startup file (usually @file{~/.emacs}), add the following
3911 Make sure that the environment variable @code{XEDITOR} is set
3914 emacsclient --no-wait +%l %f
3916 The second one, that also specifies the column, only works if you have
3917 patched your emacsclient and server, and have compiled your @code{.ly}
3918 file using the @code{line-column-location} setting.
3920 When viewing, control-mousebutton 1 will take you to the originating
3921 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3925 @unnumberedsubsec Column location
3927 If you want emacs to jump to the exact spot (and not just the line) on a
3928 click, you must enable column positioning. To do so, you need to patch
3929 emacsclient. Apply @file{emacsclient.patch} (included with the source
3930 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3931 source code. Recompile and stick the recompiled emacsclient into a bin
3932 directory, and put @file{server.el} into a elisp directory
3933 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3934 init file, before invoking server-start.
3937 (setq load-path (cons "~/usr/share/emacs" load-path))
3940 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3942 At the top of the @code{ly} file, replace the @code{set!} line with the
3945 #(set! point-and-click line-column-location)
3952 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3953 will complain about not finding @code{src:X:Y} files. Those complaints
3954 are harmless, and can be ignored.
3956 When using @code{line-column-location}, the cursor will be one off; it
3957 will not jump to the exact note that you clicked, but to the next one.
3961 @node Skipping corrected music
3962 @section Skipping corrected music
3964 The property @code{Score.skipTypesetting} can be used to switch on and
3965 off typesetting completely during the interpretation phase. When
3966 typesetting is switched off, the music is processed much more quickly.
3967 You can use this to skip over the parts of a score that you have already
3970 @lilypond[fragment,singleline,verbatim]
3971 \relative c'' { c8 d
3972 \property Score.skipTypesetting = ##t
3974 \property Score.skipTypesetting = ##f
3979 @node Interpretation context
3980 @section Interpretation context
3983 * Creating contexts::
3984 * Default contexts::
3985 * Context properties::
3986 * Engravers and performers::
3987 * Changing context definitions::
3988 * Defining new contexts::
3992 Interpretation contexts are objects that only exist during a run of
3993 LilyPond. During the interpretation phase of LilyPond (when it prints
3994 "interpreting music"), the music expression in a @code{\score} block is
3995 interpreted in time order. This is the same order that humans hear and
3998 During this interpretation, the interpretation context holds the
3999 state for the current point within the music. It contains information
4003 @item What notes are playing at this point?
4004 @item What symbols will be printed at this point?
4005 @item What is the current key signature, time signature, point within
4009 Contexts are grouped hierarchically: A @code{Voice} context is
4010 contained in a @code{Staff} context (because a staff can contain
4011 multiple voices at any point), a @code{Staff} context is contained in
4012 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
4014 Contexts associated with sheet music output are called @emph{notation
4015 contexts}, those for sound output are called @emph{performance
4016 contexts}. The default definitions of the standard notation and
4017 performance contexts can be found in @file{ly/engraver.ly} and
4018 @file{ly/performer.ly}, respectively.
4021 @node Creating contexts
4022 @subsection Creating contexts
4024 @cindex @code{\context}
4025 @cindex context selection
4027 Contexts for a music expression can be selected manually, using the
4028 following music expression.
4031 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4034 This instructs lilypond to interpret @var{musicexpr} within the context
4035 of type @var{contexttype} and with name @var{contextname}. If this
4036 context does not exist, it will be created.
4038 @lilypond[verbatim,singleline]
4040 \notes \relative c'' {
4041 c4 <d4 \context Staff = "another" e4> f
4047 In this example, the @code{c} and @code{d} are printed on the
4048 default staff. For the @code{e}, a context Staff called
4049 @code{another} is specified; since that does not exist, a new
4050 context is created. Within @code{another}, a (default) Voice context
4051 is created for the @code{e4}. When all music referring to a
4052 context is finished, the context is ended as well. So after the
4053 third quarter, @code{another} is removed.
4057 @node Default contexts
4058 @subsection Default contexts
4060 Most music expressions don't need an explicit @code{\context}
4061 declaration: they inherit the
4062 notation context from their parent. Each note is a music expression, and
4063 as you can see in the following example, only the sequential music
4064 enclosing the three notes has an explicit context.
4066 @lilypond[verbatim,singleline]
4067 \score { \notes \context Voice = goUp { c'4 d' e' } }
4070 There are some quirks that you must keep in mind when dealing with
4073 First, every top level music is interpreted by the Score context, in other
4074 words, you may think of @code{\score} working like
4077 \context Score @var{music}
4081 Second, contexts are created automatically to be able to interpret the
4082 music expressions. Consider the following example.
4084 @lilypond[verbatim, singleline]
4085 \score { \context Score \notes { c'4 ( d' )e' } }
4088 The sequential music is interpreted by the Score context initially
4089 (notice that the @code{\context} specification is redundant), but when a
4090 note is encountered, contexts are setup to accept that note. In this
4091 case, a Thread, Voice and Staff are created. The rest of the sequential
4092 music is also interpreted with the same Thread, Voice and Staff context,
4093 putting the notes on the same staff, in the same voice.
4095 This is a convenient mechanism, but do not expect opening chords to work
4096 without @code{\context}. For every note, a separate staff is
4099 @lilypond[verbatim, singleline]
4100 \score { \notes <c'4 es'> }
4103 Of course, if the chord is preceded by a normal note in sequential
4104 music, the chord will be interpreted by the Thread of the preceding
4106 @lilypond[verbatim,singleline]
4107 \score { \notes { c'4 <c'4 es'> } }
4112 @node Context properties
4113 @subsection Context properties
4115 Notation contexts have properties. These properties are from
4116 the @file{.ly} file using the following expression:
4117 @cindex @code{\property}
4119 \property @var{contextname}.@var{propname} = @var{value}
4122 Sets the @var{propname} property of the context @var{contextname} to the
4123 specified Scheme expression @var{value}. All @var{propname} and
4124 @var{contextname} are strings, which are typically unquoted.
4126 Properties that are set in one context are inherited by all of the
4127 contained contexts. This means that a property valid for the
4128 @code{Voice} context can be set in the @code{Score} context (for
4129 example) and thus take effect in all @code{Voice} contexts.
4131 Properties can be unset using the following expression:
4133 \property @var{contextname}.@var{propname} \unset
4136 @cindex properties, unsetting
4137 @cindex @code{\unset}
4139 This removes the definition of @var{propname} in @var{contextname}. If
4140 @var{propname} was not defined in @var{contextname} (but was inherited
4141 from a higher context), then this has no effect.
4146 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4147 the inverse of @code{\property \set}.
4149 @node Engravers and performers
4150 @subsection Engravers and performers
4154 Basic building blocks of translation are called engravers; they are
4155 special C++ classes.
4159 @c . {Context definitions}
4160 @node Changing context definitions
4161 @subsection Changing context definitions
4163 @cindex context definition
4164 @cindex translator definition
4166 The most common way to define a context is by extending an existing
4167 context. You can change an existing context from the paper block, by
4168 first initializing a translator with an existing context identifier:
4172 @var{context-identifier}
4175 Then you can add and remove engravers using the following syntax:
4177 \remove @var{engravername}
4178 \consists @var{engravername}
4182 Here @var{engravername} is a string, the name of an engraver in the
4186 @lilypond[verbatim,singleline]
4190 \translator { \StaffContext
4191 \remove Clef_engraver
4197 You can also set properties in a translator definition. The syntax is as
4200 @var{propname} = @var{value}
4201 @var{propname} \set @var{grob-propname} = @var{pvalue}
4202 @var{propname} \override @var{grob-propname} = @var{pvalue}
4203 @var{propname} \revert @var{grob-propname}
4205 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4206 and @code{pvalue} are Scheme expressions. These type of property
4207 assignments happen before interpretation starts, so a @code{\property}
4208 command will override any predefined settings.
4211 To simplify editing translators, all standard contexts have standard
4212 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4213 @code{VoiceContext}, see @file{ly/engraver.ly}.
4215 @node Defining new contexts
4216 @subsection Defining new contexts
4218 If you want to build a context from scratch, you must also supply the
4219 following extra information:
4221 @item A name, specified by @code{\name @var{contextname}}.
4223 @item A cooperation module. This is specified by @code{\type
4230 \type "Engraver_group_engraver"
4233 \consists "Staff_symbol_engraver"
4234 \consists "Note_head_engraver"
4235 \consistsend "Axis_group_engraver"
4239 The argument of @code{\type} is the name for a special engraver that
4240 handles cooperation between simple engravers such as
4241 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4242 for this engraver are the following:
4244 @cindex @code{Engraver_group_engraver}
4245 @item @code{Engraver_group_engraver}
4246 The standard cooperation engraver.
4248 @cindex @code{Score_engraver}
4250 @item @code{Score_engraver}
4251 This is cooperation module that should be in the top level context,
4252 and only the top level context.
4254 @cindex @code{Grace_engraver_group}
4256 @item @code{Grace_engraver_group}
4257 This is a special cooperation module (resembling
4258 @code{Score_engraver}) that is used to create an embedded
4265 @item @code{\alias} @var{alternate-name}
4266 This specifies a different name. In the above example,
4267 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4269 @item @code{\consistsend} @var{engravername}
4270 Analogous to @code{\consists}, but makes sure that
4271 @var{engravername} is always added to the end of the list of
4274 Some engraver types need to be at the end of the list; this
4275 insures they stay there even if a user adds or removes engravers.
4276 End-users generally don't need this command.
4278 @item @code{\accepts} @var{contextname}
4279 Add @var{contextname} to the list of contexts this context can
4280 contain in the context hierarchy. The first listed context is the
4281 context to create by default.
4283 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4284 completeness, but is never used in practice.
4287 @item @code{\name} @var{contextname}
4288 This sets the type name of the context, e.g. @code{Staff},
4289 @code{Voice}. If the name is not specified, the translator won't do
4293 In the @code{\paper} block, it is also possible to define translator
4294 identifiers. Like other block identifiers, the identifier can only
4295 be used as the very first item of a translator. In order to define
4296 such an identifier outside of @code{\score}, you must do
4301 foo = \translator @{ @dots{} @}
4308 \translator @{ \foo @dots{} @}
4316 @cindex paper types, engravers, and pre-defined translators
4323 @c . {Syntactic details}
4324 @node Syntactic details
4325 @section Syntactic details
4326 @cindex Syntactic details
4328 This section describes details that were too boring to be put elsewhere.
4333 * Music expressions::
4334 * Manipulating music expressions::
4342 @subsection Top level
4345 This section describes what you may enter at top level.
4349 @subsubsection Score
4352 @cindex score definition
4354 The output is generated combining a music expression with an output
4355 definition. A score block has the following syntax:
4358 \score @{ @var{musicexpr} @var{outputdefs} @}
4361 @var{outputdefs} are zero or more output definitions. If none is
4362 supplied, the default @code{\paper} block will be added.
4366 @c . {Default output}
4367 @subsubsection Default output
4369 Default values for the @code{\paper} and @code{\midi} block are set by
4370 entering such a block at the top level.
4373 @subsubsection Header
4375 @cindex @code{\header}
4378 A header describes bibliographic information of the file's contents. It
4379 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4380 use this information for generating titles. Key values that are used by
4381 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4382 meter, arranger, piece and tagline.
4384 @cindex @code{ly2dvi}
4388 \header @{ @var{key1} = @var{val1}
4389 @var{key2} = @var{val2} @dots{} @}
4392 It is customary to put the @code{\header} at the top of the file.
4394 @subsubsection Default output
4396 A @code{\midi} or @code{\paper} block at top level sets the default
4397 paper block for all scores that lack an explicit paper block.
4401 @subsection Identifiers
4405 What has this section got to do with identifiers?
4406 It seems more appropriate in the introduction to Chapter 4,
4412 All of the information in a LilyPond input file, is internally
4413 represented as a Scheme value. In addition to normal Scheme data types
4414 (such as pair, number, boolean, etc.), LilyPond has a number of
4415 specialized data types,
4422 @item Translator_def
4426 @item Music_output_def
4427 @item Moment (rational number)
4430 LilyPond also includes some transient object types. Objects of these
4431 types are built during a LilyPond run, and do not `exist' per se within
4432 your input file. These objects are created as a result of your input
4433 file, so you can include commands in the input to manipulate them,
4434 during a lilypond run.
4437 @item Grob: short for Graphical object. See @ref{Grobs}.
4438 @item Molecule: device-independent page output object,
4439 including dimensions. Produced by some Grob functions
4441 @item Translator: object that produces audio objects or Grobs. This is
4442 not yet user accessible.
4443 @item Font_metric: object representing a font. (See @ref{Font metrics})
4448 @node Music expressions
4449 @subsection Music expressions
4451 @cindex music expressions
4453 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4454 syllables are music expressions, and you can combine music expressions
4455 to form new ones, for example by enclosing a list of expressions in
4456 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4457 compound expression is formed out of the quarter note @code{c} and a
4458 quarter note @code{d}:
4461 \sequential @{ c4 d4 @}
4464 @cindex Sequential music
4465 @cindex @code{\sequential}
4466 @cindex sequential music
4469 @cindex Simultaneous music
4470 @cindex @code{\simultaneous}
4472 The two basic compound music expressions are simultaneous and
4476 \sequential @code{@{} @var{musicexprlist} @code{@}}
4477 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4479 For both, there is a shorthand:
4481 @code{@{} @var{musicexprlist} @code{@}}
4485 @code{<} @var{musicexprlist} @code{>}
4487 for simultaneous music.
4488 In principle, the way in which you nest sequential and simultaneous to
4489 produce music is not relevant. In the following example, three chords
4490 are expressed in two different ways:
4492 @lilypond[fragment,verbatim,center]
4493 \notes \context Voice {
4494 <a c'> <b d' > <c' e'>
4495 < { a b c' } { c' d' e' } >
4500 Other compound music expressions include
4503 \transpose @var{pitch} @var{expr}
4504 \apply @var{func} @var{expr}
4505 \context @var{type} = @var{id} @var{expr}
4506 \times @var{fraction} @var{expr}
4510 @c . {Manipulating music expressions}
4511 @node Manipulating music expressions
4512 @subsection Manipulating music expressions
4514 The @code{\apply} mechanism gives you access to the internal
4515 representation of music. You can write Scheme-functions that operate
4516 directly on it. The syntax is
4518 \apply #@var{func} @var{music}
4520 This means that @var{func} is applied to @var{music}. The function
4521 @var{func} should return a music expression.
4523 This example replaces the text string of a script. It also shows a dump
4524 of the music it processes, which is useful if you want to know more
4525 about how music is stored.
4527 @lilypond[verbatim,singleline]
4528 #(define (testfunc x)
4529 (if (equal? (ly-get-mus-property x 'text) "foo")
4530 (ly-set-mus-property x 'text "bar"))
4532 (ly-set-mus-property x 'elements
4533 (map testfunc (ly-get-mus-property x 'elements)))
4538 \apply #testfunc { c'4_"foo" }
4542 For more information on what is possible, see the automatically
4543 generated documentation.
4546 Directly accessing internal representations is dangerous: the
4547 implementation is subject to changes, so you should avoid this feature
4550 A final example is a function that reverses a piece of music in time:
4552 @lilypond[verbatim,singleline]
4553 #(define (reverse-music music)
4554 (let* ((elements (ly-get-mus-property music 'elements))
4555 (reversed (reverse elements))
4556 (span-dir (ly-get-mus-property music 'span-direction)))
4557 (ly-set-mus-property music 'elements reversed)
4559 (ly-set-mus-property music 'span-direction (- span-dir)))
4560 (map reverse-music reversed)
4563 music = \notes { c'4 d'4( e'4 f'4 }
4565 \score { \context Voice {
4567 \apply #reverse-music \music
4572 More examples are given in the distributed example files in
4575 @c . {Span requests}
4581 @subsubsection Span requests
4582 @cindex Span requests
4584 Notational constructs that start and end on different notes can be
4585 entered using span requests. The syntax is as follows:
4589 \spanrequest @var{startstop} @var{type}
4593 @cindex @code{\start}
4594 @cindex @code{\stop}
4596 This defines a spanning request. The @var{startstop} parameter is either
4597 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4598 describes what should be started. Much of the syntactic sugar is a
4599 shorthand for @code{\spanrequest}, for example,
4601 @lilypond[fragment,verbatim,center]
4602 c'4-\spanrequest \start "slur"
4603 c'4-\spanrequest \stop "slur"
4606 Among the supported types are @code{crescendo}, @code{decrescendo},
4607 @code{beam}, @code{slur}. This is an internal command. Users are
4608 encouraged to use the shorthands which are defined in the initialization
4609 file @file{spanners.ly}.
4614 @subsection Assignments
4617 Identifiers allow objects to be assigned to names during the parse
4618 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4619 and to refer to an identifier, you precede its name with a backslash:
4620 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4621 the input-types listed above. Identifier assignments can appear at top
4622 level in the LilyPond file, but also in @code{\paper} blocks.
4624 An identifier can be created with any string for its name, but you will
4625 only be able to refer to identifiers whose names begin with a letter,
4626 being entirely alphabetical. It is impossible to refer to an identifier
4627 whose name is the same as the name of a keyword.
4629 The right hand side of an identifier assignment is parsed completely
4630 before the assignment is done, so it is allowed to redefine an
4631 identifier in terms of its old value, e.g.
4637 When an identifier is referenced, the information it points to is
4638 copied. For this reason, an identifier reference must always be the
4639 first item in a block.
4643 \paperIdent % wrong and invalid
4647 \paperIdent % correct
4652 @c . {Lexical modes}
4654 @subsection Lexical modes
4655 @cindex Lexical modes
4658 @cindex @code{\notes}
4659 @cindex @code{\chords}
4660 @cindex @code{\lyrics}
4662 To simplify entering notes, lyrics, and chords, LilyPond has three
4663 special input modes in addition to the default mode: note, lyrics and
4664 chords mode. These input modes change the way that normal, unquoted
4665 words are interpreted: for example, the word @code{cis} may be
4666 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4667 major triad respectively.
4669 A mode switch is entered as a compound music expression
4671 @code{\notes} @var{musicexpr}
4672 @code{\chords} @var{musicexpr}
4673 @code{\lyrics} @var{musicexpr}.
4676 In each of these cases, these expressions do not add anything to the
4677 meaning of their arguments. They just instruct the parser in what mode
4678 to parse their arguments. The modes are treated in more detail in
4679 @ref{Lyrics} and @ref{Chords}.
4681 Different input modes may be nested.
4685 @subsection Ambiguities
4690 The grammar contains a number of ambiguities. We hope to resolve them at
4694 @item The assignment
4699 is interpreted as the string identifier assignment. However,
4700 it can also be interpreted as making a string identifier @code{\foo}
4701 containing @code{"bar"}, or a music identifier @code{\foo}
4702 containing the syllable `bar'.
4704 @item If you do a nested repeat like
4716 then it is ambiguous to which @code{\repeat} the
4717 @code{\alternative} belongs. This is the classic if-then-else
4718 dilemma. It may be solved by using braces.
4720 @item The parser is not sophisticated enough to distinguish at the
4722 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4729 @c . {Lexical details}
4730 @node Lexical details
4731 @section Lexical details
4733 Even more boring details, now on lexical side of the input parser.
4744 * Version information::
4749 @subsection Comments
4752 @cindex block comment
4753 @cindex line comment
4757 A one line comment is introduced by a @code{%} character.
4758 Block comments are started by @code{%@{} and ended by @code{%@}}.
4759 They cannot be nested.
4762 @subsection Direct Scheme
4766 @cindex Scheme, in-line code
4769 LilyPond contains a Scheme interpreter (the GUILE library) for
4770 internal use. In some places, Scheme expressions also form valid syntax:
4771 wherever it is allowed,
4775 evaluates the specified Scheme code. Example:
4777 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4779 @code{\override} expects two Scheme expressions, so there are two Scheme
4780 expressions. The first one is a symbol (@code{foobar}), the second one
4781 an integer (namely, 3).
4783 In-line scheme may be used at the top level. In this case the result is
4786 Scheme is a full-blown programming language, and a full discussion is
4787 outside the scope of this document. Interested readers are referred to
4788 the website @uref{http://www.schemers.org/} for more information on
4793 @subsection Keywords
4797 Keywords start with a backslash, followed by a number of lower case
4798 alphabetic characters. These are all the keywords.
4801 apply arpeggio autochange spanrequest commandspanrequest
4802 simultaneous sequential accepts alternative bar breathe
4803 char chordmodifiers chords clef cm consists consistsend
4804 context denies duration dynamicscript elementdescriptions
4805 font grace header in lyrics key mark pitch
4806 time times midi mm name pitchnames notes outputproperty
4807 override set revert partial paper penalty property pt
4808 relative remove repeat addlyrics partcombine score
4809 script stylesheet skip textscript tempo translator
4814 @subsection Integers
4822 Formed from an optional minus sign followed by digits. Arithmetic
4823 operations cannot be done with integers, and integers cannot be mixed
4828 @cindex real numbers
4834 Formed from an optional minus sign and a sequence of digits followed
4835 by a @emph{required} decimal point and an optional exponent such as
4836 @code{-1.2e3}. Reals can be built up using the usual operations:
4837 `@code{+}', `@code{-}', `@code{*}', and
4838 `@code{/}', with parentheses for grouping.
4846 A real constant can be followed by one of the dimension keywords:
4847 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4848 points, inches and centimeters, respectively. This converts the number
4849 a number that is the internal representation of that dimension.
4857 Begins and ends with the @code{"} character. To include a @code{"}
4858 character in a string write @code{\"}. Various other backslash
4859 sequences have special interpretations as in the C language. A string
4860 that contains no spaces can be written without the quotes. Strings can
4861 be concatenated with the @code{+} operator.
4865 @subsection Main input
4868 @cindex @code{\maininput}
4870 The @code{\maininput} command is used in init files to signal that the
4871 user file must be read. This command cannot be used in a user file.
4873 @node File inclusion
4874 @subsection File inclusion
4875 @cindex @code{\include}
4877 \include @var{filename}
4880 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4881 unquoted string will not work here!) or a string identifier. The full
4882 filename including the @file{.ly} extension must be given,
4885 @node Version information
4886 @subsection Version information
4887 @cindex @code{\version}
4889 \version @var{string}
4892 Specify the version of LilyPond that a file was written for. The
4893 argument is a version string in quotes, for example @code{"1.2.0"}.
4894 This is used to detect invalid input, and to aid
4895 @code{convert-ly} a tool that automatically upgrades input files. See
4896 See @ref{convert-ly} for more information on @code{convert-ly}.
4905 @c .{Local emacs vars}
4908 @c minor-mode: font-lock
4909 @c minor-mode: outline
4910 @c outline-layout: (-1 : 0)
4911 @c outline-use-mode-specific-leader: "@c \."
4912 @c outline-primary-bullet: "{"
4913 @c outline-stylish-prefixes: nil
4914 @c outline-override-protect: t