3 @c - Reinsert subsection commands that were lost in the
4 @c ancient conversion from YODL! /MB
5 @c - Restructure! Separate internal commands from user level commands. /MB
6 @c - Add some words about Guile. /MB
7 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
9 @c FIXME: Index has two alphabetically sorted lists @code vs plain?
11 @c If we'd include the auto-generated documentation, we 'd get a lot of
12 @c very useful index entries.
16 @node Reference Manual
17 @chapter Reference Manual
21 * Top level:: Top level
22 * Pitch names:: Pitch names
23 * Lexical conventions:: Lexical conventions
24 * Other languages:: Note names in various languages
25 * Lexical modes:: modes
27 * Music expressions:: Music expressions
28 * Atomic music expressions:: Atomic music expressions
29 * Note specification:: notedesc
31 * Manual beams:: Manual beam
32 * stem tremolo:: tremolo
33 * Compound music expressions:: Compound music expressions
36 * transpose:: transpose
37 * Ambiguities:: Ambiguities
38 * Notation conversion specifics:: Notation conversion specifics
39 * Automatic Beaming:: Automatic Beaming
40 * Chord Names:: Chord Names
41 * lyricprint:: lyricprint
42 * Notation Contexts:: Notation Contexts
43 * Properties:: Changing formatting
44 * Page layout:: Layout
45 * contextdefs:: contextdefs
46 * Sound output:: Sound output
48 * Pre-defined Identifiers:: Pre-defined Identifiers
49 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
50 * Engravers:(lilypond-internals)LilyPond engravers.
51 * Backend:(lilypond-internals)LilyPond backend.
60 This document@footnote{This document has been revised for LilyPond 1.2.}
61 describes the the GNU LilyPond input format This format represents a
62 piece of music in an elegant way, but contains enough information for
63 both automatic typesetting and automatic performances.
66 LilyPond input can be classified into three types:
68 @item musical expressions: a musical expression is some combination of
70 @item output definitions: recipes for translating those musical
71 expressions into performances (MIDI) or graphics (eg. PostScript).
73 @item declarations: by declaring and naming musical expressions, you
74 can enter and edit them in manageable chunks.
80 This section describes what you may enter at top level.
84 @cindex score definition
86 The output is generated combining a music expression with an output
87 definition. A score block has the following syntax:
90 \score @{ @var{musicexpr} @var{outputdefs} @}
93 @var{outputdefs} are zero or more output definitions. If no output
94 definition is supplied, the default @code{\paper} block will be added.
103 \header @{ @var{key1} = @var{val1};
104 @var{key2} = @var{val2}; @dots{} @}
107 A header describes the file's contents. It can also appear in a
108 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
109 information for generating titles. Key values that are used by
110 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
111 metre, arranger, piece and tagline.
113 It is customary to put the @code{\header} at the top of the file.
121 @cindex chord modifier names
123 Note names and chord modifiers can be customised for nationalities.
124 languages and conventions. The syntax is as follows.
126 \pitchnames@keyindex{pitchnames} @var{scheme-alist}
127 \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist}
130 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
131 specific examples how to do this. tables can be tailored specified
132 using. Some national note names have been provided, see
133 section @ref{Other languages}.
134 A @code{\paper} block at top level sets the default paper block. A
135 @code{\midi} block at top level works similarly.
137 Identifier assignments may appear at top level. Semicolons are
138 forbidden after top level assignments.
142 @node Lexical conventions
143 @section Lexical conventions
145 @cindex lexical conventions
148 @unnumberedsubsec Comments
154 A one line comment is introduced by a `@code{%}' character.
155 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
156 They cannot be nested.
158 @unnumberedsubsec Scheme
162 LilyPond contains a Scheme interpreter (the GUILE library) for
163 internal use. The interpreter is accessed by the pound sign:
167 @cindex Scheme, in-line code
169 Whereever the syntax allows Scheme expressions, you may enter one as
175 Evaluates the specified Scheme code. If this is used at toplevel, then
176 the result is discarded. Example:
178 \property Staff.TestObject \override #'symbol = #(+ 1 2)
181 (in this case, @code{\override} expects two Scheme expressions.
183 [refer appendix/ online intro on Scheme]
185 @unnumberedsubsec Keywords
189 Keywords start with a backslash, followed by a number of lower case
190 alphabetic characters. These are all the keywords.
193 apply arpeggio autochange spanrequest commandspanrequest
194 simultaneous sequential accepts alternative bar breathe
195 char chordmodifiers chords clef cm consists consistsend
196 context denies duration dynamicscript elementdescriptions
197 font grace header in lyrics key mark musicalpitch
198 time times midi mm name pitchnames notes outputproperty
199 override set revert partial paper penalty property pt
200 relative remove repeat addlyrics partcombine score
201 script stylesheet skip textscript tempo translator
205 @unnumberedsubsec Integers
209 Formed from an optional minus sign followed by digits. Arithmetic
210 operations cannot be done with integers, and integers cannot be mixed
213 @unnumberedsubsec Reals
218 Formed from an optional minus sign and a sequence of digits followed
219 by a @emph{required} decimal point and an optional exponent such as
220 @code{-1.2e3}. Reals can be built up using the usual operations:
221 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
222 `@code{/}@indexcode{/}', with parentheses for grouping.
224 A real constant can be followed by one of the dimension
227 @code{\mm}@keyindex{mm},
228 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
229 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
230 centimeters, respectively. This converts the number to a real that
231 is the internal representation of dimensions.
237 Begins and ends with the `@code{"}' character. To include a `@code{"}'
238 character in a string write `@code{\"}'. Various other backslash
239 sequences have special interpretations as in the C language. A string
240 that contains no spaces can be written without the quotes. See
241 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
242 depending on the situation. Strings can be concatenated with the
245 The tokenizer accepts the following commands. They have no grammatical
246 function, hence they can appear anywhere in the input.
249 \maininput@keyindex{maininput}
252 This command is used in init files to signal that the user file must
253 be read. This command cannot be used in a user file.
255 @unnumberedsubsec file inclusion
258 \include@keyindex{include} @var{file}
261 Include @var{file}. The argument @var{file} may be a quoted string (an
262 unquoted string will not work here!) or a string identifier. The full
263 filename including the @file{.ly} extension must be given,
265 @unnumberedsubsec Version information
268 \version@keyindex{version} @var{string} ;
271 Specify the version of LilyPond that a file was written for. The
272 argument is a version string in quotes, for example @code{"1.2.0"}.
273 This is used to detect invalid input, and to aid
274 @code{convert-ly}, a tool that automatically upgrades input files.
277 @node Other languages
278 @section Other languages
279 @cindex Note names, international
281 Note name definitions have been provided in various languages.
282 Simply include the language specific init file. For example:
283 `@code{\include "english.ly"}'. The available language files and the
284 names they define are:
287 Note Names sharp flat
288 nederlands.ly c d e f g a bes b -is -es
289 english.ly c d e f g a bf b -s/-sharp -f/-flat
290 deutsch.ly c d e f g a b h -is -es
291 norsk.ly c d e f g a b h -iss/-is -ess/-es
292 svenska.ly c d e f g a b h -iss -ess
293 italiano.ly do re mi fa sol la sib si -d -b
294 catalan.ly do re mi fa sol la sib si -d/-s -b
297 Pitch names can be redefined using the @code{\pitchnames} command, see
301 @section Lexical modes
302 @cindex Lexical modes
306 To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
307 special input modes on top of the default mode. In each mode, words
308 are identified on the input. If @code{"word"} is encountered, it is
309 treated as a string. If @code{\word} is encountered, it is treated as
310 a keyword or as an identifier. The behavior of the modes differs in
311 two ways: Different modes treat unquoted words differently, and
312 different modes have different rules for deciding what is a word.
318 At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
319 mode, a word is an alphabetic character followed by alphanumeric
320 characters. If @code{word} is encountered on the input it is
326 Note mode is introduced by the keyword
327 @code{\notes}@keyindex{notes}. In Note mode, words can only
328 contain alphabetic characters. If @code{word} is encountered,
329 LilyPond first checks for a notename of @code{word}. If no
330 notename is found, then @code{word} is treated as a string.
332 Since combinations of numbers and dots are used for indicating
333 durations, it is not possible to enter real numbers in this mode.
338 Chord mode is introduced by the keyword
339 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
340 words are also looked up in a chord modifier table (containing
341 @code{maj}, @code{dim}, etc).
343 Since combinations of numbers and dots are used for indicating
344 durations, you can not enter real numbers in this mode. Dashes
345 and carets are used to indicate chord additions and subtractions,
346 so scripts can not be entered in Chord mode.
351 Lyrics mode is introduced by the keyword
352 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
353 easy to include punctuation and diacritical marks in words. A
354 word in Lyrics mode begins with: an alphabetic character,
355 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
356 control characters @code{^A} through @code{^F}, @code{^Q} through
357 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
358 over 127, or a two-character combination of a backslash followed
359 by one of `@code{`}', `@code{'}', `@code{"}', or
360 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
361 enter lyrics in @TeX{} format or a standard encoding without
362 needing quotes. The precise definition of this mode indeed is
363 ludicrous. This will remain so until the authors of LilyPond
364 acquire a deeper understanding of character encoding, or someone
365 else steps up to fix this.}
367 Subsequent characters of a word can be any character that is not
368 a digit and not white space. One important consequence of this
369 is that a word can end with `@code{@}}', which may be confusing if
370 you thought the closing brace was going to terminate Lyrics
371 mode.@footnote{LilyPond will issue a warning, though.} Any
372 `@code{_}' character which appears in an unquoted word is
373 converted to a space. This provides a mechanism for introducing
374 spaces into words without using quotes. Quoted words can also be
375 used in Lyrics mode to specify words that cannot be written with
376 the above rules. Here are some examples. Not all of these words
377 are printable by @TeX{}.
381 2B_||_!2B % not a word because it starts with a digit
382 ``Hello'' % not a word because it starts with `
383 _ _ _ _ % 4 words, each one a space
386 Since combinations of numbers and dots are used for indicating
387 durations, you can not enter real numbers in this mode.
390 [todo: include short table showign differences]
397 [say something about types]
399 All of the information in a LilyPond input file, is represented as a
400 Scheme value. In addition to normal Scheme data types (such as pair,
401 number, boolean, etc.), LilyPond has a number of specialized data types,
406 @item Music: see @ref{Music expressions}
408 @item Translator_def:
409 See section @ref{contextdefs} for more information
414 @item Music_output_def (TODO: this is not really a Scheme object
415 yet. Nevertheless, you can use identifiers to make references to them )
416 @item Moment (rational number)
419 LilyPond also includes some transient object types. Objects of these
420 types are built during a LilyPond run, and do not `exist' per se within
421 your input file. These objects are created as a result of your input
422 file, so you can include commands in the input to manipulate them,
423 during a lilypond run.
426 @item Grob: short for Graphical object. See @ref{Grobs}.
427 @item Molecule: device-independent page output object,
428 including dimensions. Produced by some Grob functions
430 @item Translator: object that produces audio objects or Grobs. This is
431 not yet user accessible.
432 @item Font_metric: object representing a font. (See @ref{Font metrics})
433 @c @item Audio_element: (todo, smobme)
436 Identifiers allow objects to be assigned to names during the parse
437 stage. To assign an identifier, you use `@var{name}=@var{value}' and to
438 refer to an identifier, you preceed its name with a backslash:
439 `@code{\}@var{name}'. Identifier assignments must appear at top level
440 in the @emph{Lilypond} file. Semicolons are forbidden after assignments
441 appearing at top level but they are obligatory after assignments
442 appearing in the @code{\paper} block, see Section @ref{Page layout}.
444 @var{value} is any valid Scheme value or any of the input-types listed
447 An identifier can be created with any string for its name, but you will
448 only be able to refer to identifiers whose names begin with a letter,
449 being entirely alphanumeric. It is impossible to refer to an identifier
450 whose name is the same as the name of a keyword.
452 The right hand side of an identifier assignment is parsed completely
453 before the assignment is done, so it is allowed to redefine an
454 identifier in terms of its old value, e.g.
460 When an identifier is referenced, the information it points to is
461 copied. For this reason, an identifier reference must always be the
462 first item in a block.
466 \paperIdent % wrong and invalid
470 \paperIdent % correct
476 @node Music expressions
477 @section Music expressions
479 @cindex music expressions
481 Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
482 lyric syllables are music expressions (the atomic
484 @cindex atomic music expressions
485 and you can combine music expressions to form new ones. This example
486 forms a compound expressions out of the quarter @code{c} note and a
490 \sequential @{ c4 d4 @}
493 The meaning of this compound expression is to play the `@code{c}'
494 first, and then the `@code{d}' (as opposed to playing them
495 simultaneously, for instance).
497 Atomic music expression are discussed in
498 subsection @ref{Atomic music expressions}. Compound music expressions are
499 discussed in subsection @ref{Compound music expressions}.
503 @node Atomic music expressions
504 @section Atomic music expressions
514 The syntax for pitch specification is
518 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
521 @var{octave} is specified by an integer, zero for the octave
522 containing middle C. @var{note} is a number from 0 to 7, with 0
523 corresponding to C and 7 corresponding to B. The shift is zero for a
524 natural, negative to add flats, or positive to add sharps.
526 In Note and Chord mode, pitches may be designated by names. See
527 section @ref{Other languages} for pitch names in different languages.
529 The syntax for duration specification is
532 \duration@keyindex{duration}
533 @{ @var{length} @var{dotcount} @}
536 @var{length} is the negative logarithm (base 2) of the duration:
537 1 is a half note, 2 is a quarter note, 3 is an eighth
538 note, etc. The number of dots after the note is given by
541 In Note, Chord, and Lyrics mode, durations may be designated by
545 @node Note specification
546 @section Note specification
547 @cindex Note specification
551 @cindex entering notes
553 A note specification has the form
556 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
559 The pitch of the note is specified by the note's name.
562 The default names are the Dutch note names. The notes are specified
563 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
564 octave below middle C and the letters span the octave above that C.
566 @cindex notenames!Dutch
567 a sharp is formed by adding `@code{-is}' to the end of a pitch name. A
568 flat is formed by adding `@code{-es}'. Double sharps and double flats
569 are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}'
570 and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch,
571 but both forms will be accepted.
573 LilyPond has predefined sets of notenames for various languages. See
574 section @ref{Other languages}.
576 The optional octave specification takes the form of a series of
577 single quote (`@code{'}@indexcode{'}') characters or a series of comma
578 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
579 octave; each @code{,} lowers the pitch by an octave.
581 @lilypond[fragment,verbatim,center]
582 c' d' e' f' g' a' b' c''
585 @lilypond[fragment,verbatim,center]
586 cis' dis' eis' fis' gis' ais' bis'
589 @lilypond[fragment,verbatim,center]
590 ces' des' es' fes' ges' as' bes'
593 @lilypond[fragment,verbatim,center]
594 cisis' eisis' gisis' aisis' beses'
597 @lilypond[fragment,verbatim,center]
598 ceses' eses' geses' ases' beses'
601 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
602 will determine what accidentals to typeset depending on the key and
603 context. A reminder accidental
604 @cindex reminder accidental
605 can be forced by adding an exclamation mark `@code{!}' after the pitch.
606 A cautionary accidental,
607 @cindex cautionary accidental
608 i.e., an accidental within parentheses can be obtained by adding the
609 question mark `@code{?}@indexcode{?}' after the pitch.
611 @lilypond[fragment,verbatim,center]
612 cis' d' e' cis' c'? d' e' c'!
618 Durations are entered as their reciprocal values. For notes longer
619 than a whole note, use identifiers.
625 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
634 \notes \relative c'' {
636 a1 a2 a4 a8 a16 a32 a64 a64
641 \remove "Clef_engraver";
642 \remove "Staff_symbol_engraver";
653 r1 r2 r4 r8 r16 r32 r64 r64
662 \notes \relative c'' {
664 r1 r2 r4 r8 r16 r32 r64 r64
667 loose_column_distance = 2.5 * \staffspace;
671 \remove "Clef_engraver";
672 \remove "Staff_symbol_engraver";
673 \remove "Bar_engraver";
680 If the duration is omitted then it is set equal to the previous
681 duration. If there is no previous duration, a quarter note is
682 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
683 to obtain dotted note lengths.
685 @lilypond[fragment,verbatim,center]
689 You can alter the length of duration by writing
690 `@code{*}@var{fraction}' after it. This will not affect the
691 appearance of note heads or rests.
694 Rests are entered like notes, with note name `@code{r}@indexcode{r}', or
695 `@code{R}@indexcode{R}'. There is also a note name
696 `@code{s}@indexcode{s}', which produces a space of the specified
697 duration. `@code{R}' is specifically meant for entering parts: the
698 @code{R} rest can expand to fill a score with rests, or it can be
699 printed as a single multimeasure rest.
701 You can control the expansion by setting the property
702 @code{Score.skipBars}. If this is set to true, Lily will not expand
703 empty measures, and the multimeasure rests automatically adds the
706 Note that there is currently no way to condense multiple rests into a
707 single multimeasure rest.
711 @cindex lyrics expressions
713 Syllables are entered like notes, with pitches replaced by text. For
714 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
715 with quarter note duration. Note that the hyphen has no special
716 meaning for lyrics, and does not introduce special symbols. See
717 section @ref{Lexical modes} for a description of what is interpreted as
720 Spaces can be introduced into a lyric either by using quotes
721 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
722 not4}'. All unquoted underscores are converted to spaces. Printing
723 lyrics is discussed in section @ref{lyricprint}.
730 \property@keyindex{property}
731 @var{contextname}.@var{propname} = @var{value}
734 Sets the @var{propname} property of the context @var{contextname} to
735 the specified @var{value}. All three arguments are strings.
736 Depending on the context, it may be necessary to quote the strings or
737 to leave space on both sides of the dot.
741 @cindex translator switches
744 \translator@keyindex{translator}
745 @var{contexttype} = @var{name}
748 A music expression indicating that the context which is a direct
749 child of the a context of type @var{contexttype} should be shifted to
750 a context of type @var{contexttype} and the specified name.
752 Usually this is used to switch staffs in Piano music, e.g.
755 \translator Staff = top @var{Music}
759 @cindex output properties
762 These allow you to tweak what is happening in the back-end
763 directly. If you want to control every detail of the output
764 formatting, this is the feature to use. The downside to this is that
765 you need to know exactly how the backend works. Example:
768 @lilypond[fragment,verbatim]
770 \context Staff \outputproperty
771 #(make-type-checker 'Note_head)
772 #'extra-offset = #'(5.0 . 7.5)
776 This selects all note heads occurring at current staff level, and sets
777 the extra-offset of those heads to (5,7.5), shifting them up and
780 Use of this feature is entirely on your own risk: if you use this, the
781 result will depend very heavily on the implementation of the backend,
782 which we change regularly and unscrupulously.
787 Commands are music expressions that have no duration.
791 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
794 Change the key signature. @var{type} should be
795 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
796 @var{pitch}-major or @var{pitch}-minor, respectively. The second
797 argument is optional; the default is major keys. The @var{\context}
798 argument can also be given as an integer, which tells the number of
799 semitones that should be added to the pitch given in the subsequent
800 @code{\key}@keyindex{key} commands to get the corresponding major key,
801 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
802 mode names @code{\ionian}@keyindex{ionian},
803 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
804 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
805 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
810 \mark@keyindex{mark} @var{unsigned};
814 Prints a mark over or under the staff. You must add
815 @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for
822 \bar@keyindex{bar} @var{bartype};
825 This is a short-cut for doing
827 \property Score.whichBar = @var{bartype}
830 You are encouraged to use @code{\repeat} for repetitions. See
831 @ref{Repeats}, and the documentation of @code{whichBar} in
832 @ref{(lilypond-internals)LilyPond context properties}.
836 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
839 A short-cut for doing
841 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
844 See the documentation of @code{timeSignatureFraction}
848 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
851 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
852 requests output with 76 quarter notes per minute.
855 \partial@keyindex{partial} @var{duration} @code{;}
861 \property Score.measurePosition = @var{length of duration}
864 See the documentation of @code{measurePosition}.
872 @code{|}@indexcode{|}
877 @cindex shorten measures
881 `@code{|}' is a bar check. Whenever a bar check is encountered during
882 interpretation, a warning message is issued if it doesn't fall at a
883 measure boundary. This can help you finding errors in the input.
884 Depending on the value of @code{barCheckNoSynchronize}
885 @indexcode{barCheckNoSynchronize} The beginning of the measure will be
886 relocated, so this can also be used to shorten measures.
890 \penalty@keyindex{penalty} @var{int} @code{;}
893 Discourage or encourage line breaks. See identifiers
894 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
895 section [on identifiers] [FIXME].
898 \clef@keyindex{clef} @var{clefname} @code{;}
904 \property Clef.clefGlyph = @var{symbol associated with clefname}
905 \property Clef.clefPosition = @var{clef Y-position for clefname}
906 \property Clef.clefOctavation = @var{extra pitch of clefname}
909 Supported clef-names include
915 \skip@keyindex{skip} @var{duration} @code{;}
918 Skips the amount of time specified by @var{duration}. If no other
919 music is played, a gap will be left for the skipped time with no
920 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
921 this has the same effect as the space rest `@code{s}'.
925 @section Manual beams
928 A beam is specified by surrounding the beamed notes with brackets
929 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
931 @lilypond[fragment,verbatim,center]
932 [a'8 a'] [a'16 a' a' a']
935 Some more elaborate constructions:
937 @lilypond[fragment,verbatim,center]
938 [a'16 <a' c''> c'' <a' c''>]
939 \times 2/3 { [e'8 f' g'] }
942 Beaming can be generated automatically; see section @ref{Automatic Beaming}.
945 To place tremolo marks between notes, use @code{\repeat} with tremolo
947 @cindex tremolo beams
948 To create tremolo beams on a single note, simply attach
949 `@code{:}@var{length}' to the note itself.
951 @lilypond[fragment,verbatim,center]
952 \repeat "tremolo" 8 { c16 d16 }
953 \repeat "tremolo" 4 { c16 d16 }
956 @lilypond[fragment,verbatim,center]
961 @cindex --@@@code{-}@code{-}
969 The syntax for an extender mark is `@code{__}'. This syntax can only
970 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
971 a hyphen that will be printed between two lyric syllables) is
977 A tie connects two adjacent note heads of the same pitch. When used
978 with chords, it connects all of the note heads whose pitches match.
979 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
980 If you try to tie together chords which have no common pitches, a
981 warning message will appear and no ties will be created.
983 @lilypond[fragment,verbatim,center]
984 e' ~ e' <c' e' g'> ~ <c' e' g'>
987 @cindex articulations
993 A variety of symbols can appear above and below notes to indicate
994 different characteristics of the performance. These symbols can be
995 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
996 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
997 forced to appear above or below the note by writing
998 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
999 respectively. Here is a chart showing symbols above notes, with the
1000 name of the corresponding symbol appearing underneath.
1006 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1007 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1008 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1009 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1010 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1011 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1012 c''-\thumb c''-\segno c''-\coda
1014 \context Lyrics \lyrics {
1015 accent__ marcato__ staccatissimo__ fermata
1016 stopped__ staccato__ tenuto__ upbow
1017 downbow__ lheel__ rheel__ ltoe
1018 rtoe__ turn__ open__ flageolet
1019 reverseturn__ trill__ prall__ mordent
1020 prallprall__ prallmordent__ uprall__ downprall
1021 thumb__ segno__ coda
1025 linewidth = 5.875\in;
1032 In addition, it is possible to place arbitrary strings of text or
1033 @TeX{} above or below notes by using a string instead of an
1034 identifier: `@code{c^"text"}'. Fingerings
1036 can be placed by simply using digits. All of these note ornaments
1037 appear in the printed output but have no effect on the MIDI rendering of
1040 To save typing, fingering instructions (digits 0 to 9 are
1041 supported) and single characters shorthands exist for a few
1048 \property Voice.TextScript \set #'font-style = #'typewriter
1054 c''4-^_"c-\\^{ }" s4
1061 linewidth = 5.875 \in;
1068 Dynamic marks are specified by using an identifier after a note:
1069 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1070 The available dynamic marks are:
1071 @code{\ppp}@keyindex{ppp},
1072 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1073 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1074 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1075 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1076 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1077 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1078 @code{\rfz}@keyindex{rfz}.
1083 \textscript@keyindex{textscript} @var{text} @var{style}
1086 Defines a text to be printed over or under a note. @var{style} is a
1087 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1088 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1090 You can attach a general textscript request using this syntax:
1095 c4-\textscript "6" "finger"
1096 c4-\textscript "foo" "normal"
1101 This is equivalent to `@code{c4-6 c4-"foo"}'.
1107 \script@keyindex{script} @var{alias}
1110 Prints a symbol above or below a note. The argument is a string
1111 which points into the script-alias table defined in @file{script.scm}.
1112 The scheme definitions specify whether the symbol follows notes into
1113 the staff, dependence of symbol placement on staff direction, and a
1114 priority for placing several symbols over one note. Usually the
1115 @code{\script}@keyindex{script} keyword is not used directly. Various
1116 helpful identifier definitions appear in @file{script.ly}.
1121 Slurs connects chords and try to avoid crossing stems. A slur is
1122 started with `@code{(}' and stopped with `@code{)}'. The
1123 starting `@code{(}' appears to the right of the first note in
1124 the slur. The terminal `@code{)}' appears to the left of the
1125 first note in the slur. This makes it possible to put a note in
1126 slurs from both sides:
1128 @lilypond[fragment,verbatim,center]
1129 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1135 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1136 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1137 @code{\decr}@keyindex{decr} and terminated with
1138 @code{\rced}@keyindex{rced}. There are also shorthands for these
1139 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1140 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1141 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1142 must go before the last note of the dynamic mark whereas @code{\rc}
1143 and @code{\rced} go after the last note. Because these marks are
1144 bound to notes, if you want to get several marks during one note, you
1145 must use spacer notes.
1147 @lilypond[fragment,verbatim,center]
1148 c'' \< \! c'' d'' \decr e'' \rced
1149 < f''1 { s4 \< \! s2 \> \! s4 } >
1155 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1158 Define a spanning request. The @var{startstop} parameter is either -1
1159 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1160 @var{type} is a string that describes what should be started.
1161 Supported types are @code{crescendo}, @code{decrescendo},
1162 @code{beam}, @code{slur}. This is an internal command. Users should
1163 use the shorthands which are defined in the initialization file
1166 You can attach a (general) span request to a note using
1168 @lilypond[fragment,verbatim,center]
1169 c'4-\spanrequest \start "slur"
1170 c'4-\spanrequest \stop "slur"
1173 The slur syntax with parentheses is a shorthand for this.
1177 @section stem tremolo
1178 @cindex tremolo marks
1180 Tremolo marks can be printed on a single note by adding
1181 `@code{:}[@var{length}]' after the note. The length must be at
1182 least 8. A @var{length} value of 8 gives one line across
1183 the note stem. If the length is omitted, then the last value is
1184 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1187 @lilypond[verbatim,fragment,center]
1193 @node Compound music expressions
1194 @section Compound music expressions
1196 @cindex compound music expressions
1198 Music expressions are compound data structures. You can nest music
1199 expressions any way you like. This simple example shows how three
1200 chords can be expressed in two different ways:
1202 @lilypond[fragment,verbatim,center]
1203 \notes \context Staff {
1205 <a c'> <b d' > <c' e'>
1206 < { a b c' } { c' d' e' } >
1210 @cindex context selection
1211 @c @keyindex{context}
1214 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1217 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1218 If the context does not exist, it will be created. The new context
1219 can optionally be given a name.
1225 Mode switching keywords form compound music expressions: @code{\notes}
1226 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1227 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1228 These expressions do not add anything to the meaning of their
1229 arguments. They are just a way to indicate that the arguments should
1230 be parsed in indicated mode. See @ref{Lexical modes} for more
1231 information on modes.
1233 @cindex sequential music
1239 \sequential@keyindex{sequential}
1240 @code{@{} @var{musicexprlist} @code{@}}
1243 This means that list should be played or written in sequence, i.e.,
1244 the second after the first, the third after the second. The duration
1245 of sequential music is the the sum of the durations of the elements.
1246 There is a shorthand, which leaves out the keyword:
1250 @code{@{} @var{musicexprlist} @code{@}}
1255 @cindex simultaneous music
1262 \simultaneous@keyindex{simultaneous}
1263 @code{@{} @var{musicexprlist} @code{@}}
1266 It constructs a music expression where all of its arguments start at
1267 the same moment. The duration is the maximum of the durations of the
1268 elements. The following shorthand is a common idiom:
1272 @code{<} @var{musicexprlist} @code{>}
1275 If you try to use a chord as the first thing in your score, you might
1276 get multiple staffs instead of a chord.
1278 @lilypond[verbatim,center]
1287 This happens because the chord is interpreted by a score context.
1288 Each time a note is encountered a default Voice context (along with a
1289 Staff context) is created. The solution is to explicitly instantiate
1292 @lilypond[verbatim,center]
1294 \notes\context Voice <c''4 e''>
1306 @cindex relative pitch specification
1308 It is easy to get confused by octave changing marks and accidentally
1309 putting a pitch in the wrong octave. A much better way of entering a
1310 note's octave is `the relative octave' mode.
1314 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1317 The octave of notes that appear in @var{musicexpr} are calculated as
1318 follows: If no octave changing marks are used, the basic interval
1319 between this and the last note is always taken to be a fourth or
1320 less.@footnote{The interval is determined without regarding
1321 accidentals. A @code{fisis} following a @code{ceses} will be put above
1322 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1323 can then be added to raise or lower the pitch by an extra octave.
1324 Upon entering relative mode, an absolute starting pitch must be
1325 specified that will act as the predecessor of the first note of
1328 Entering scales is straightforward in relative mode.
1330 @lilypond[fragment,verbatim,center]
1336 And octave changing marks are used for intervals greater than a fourth.
1338 @lilypond[fragment,verbatim,center]
1340 c g c f, c' a, e'' }
1343 If the preceding item is a chord, the first note of the chord is used
1344 to determine the first note of the next chord. But other notes
1345 within the second chord are determined by looking at the immediately
1348 @lilypond[fragment,verbatim,center]
1356 The pitch after the @code{\relative} contains a notename. To parse
1357 the pitch as a notename, you have to be in note mode, so there must
1358 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1361 The relative conversion will not affect @code{\transpose} or
1362 @code{\relative} sections in its argument. If you want to use
1363 relative within transposed music, you must place an additional
1364 @code{\relative} inside the @code{\transpose}.
1366 It is strongly recommended to use relative pitch mode: less work,
1367 less error-prone, and more readable.
1371 Chord names are a way to generate simultaneous music expressions that
1372 correspond with traditional chord names. It can only be used in
1373 Chord mode (see section @ref{Lexical modes}).
1377 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1380 @var{tonic} should be the tonic note of the chord, and @var{duration}
1381 is the chord duration in the usual notation. There are two kinds of
1382 modifiers. One type is @emph{chord additions}, which are obtained by
1383 listing intervals separated by dots. An interval is written by its
1384 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1385 lowering by half a step. Chord additions has two effects: It adds
1386 the specified interval and all lower odd numbered intervals to the
1387 chord, and it may lower or raise the specified interval. Intervals
1388 must be separated by a dot (`@code{.}').
1392 @lilypond[fragment,verbatim]
1396 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1403 The second type of modifier that may appear after the `@code{:}' is a
1404 named modifier. Named modifiers are listed in the file
1405 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1406 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1407 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1408 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1409 which replaces the 5th with a 4th.
1413 @lilypond[fragment,verbatim]
1416 c1:m c:min7 c:maj c:aug c:dim c:sus
1424 Chord subtractions are used to eliminate notes from a chord. The
1425 notes to be subtracted are listed after a `@code{^}' character,
1428 @lilypond[fragment,verbatim,center]
1436 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1437 the name of a single note to a chord. This has the effect of
1438 lowering the specified note by an octave so it becomes the lowest
1439 note in the chord. If the specified note is not in the chord, a
1440 warning will be printed.
1442 @lilypond[fragment,verbatim,center]
1451 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1452 the name of a single note to a chord. This has the effect of
1453 adding the specified note to the chord, lowered by an octave,
1454 so it becomes the lowest note in the chord.
1456 @lilypond[fragment,verbatim,center]
1465 Throughout these examples, chords have been shifted around the staff
1466 using @code{\transpose}.
1468 You should not combine @code{\relative} with named chords.
1474 Tuplets are made out of a music expression by multiplying their
1475 duration with a fraction.
1479 \times@keyindex{times} @var{fraction} @var{musicexpr}
1482 The duration of @var{musicexpr} will be multiplied by the fraction.
1483 In print, the fraction's denominator will be printed over the notes,
1484 optionally with a bracket. The most common tuplet is the triplet in
1485 which 3 notes have the length of 2, so the notes are 2/3 of
1486 their written length:
1488 @lilypond[fragment,verbatim,center]
1489 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1498 \grace@keyindex{grace} @var{musicexpr}
1501 A grace note expression has duration 0; the next real note is
1502 assumed to be the main note.
1505 You cannot have the grace note after the main note, in terms of
1506 duration, and main notes, but you can typeset the grace notes to the
1507 right of the main note using the property
1508 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1510 When grace music is interpreted, a score-within-a-score is set up:
1511 @var{musicexpr} has its own time bookkeeping, and you could (for
1512 example) have a separate time signature within grace notes. While in
1513 this score-within-a-score, you can create notes, beams, slurs, etc.
1514 Unbeamed eighth notes and shorter by default have a slash through the
1515 stem. This behavior can be controlled with the
1516 @code{flagStyle}@indexcode{flagStyle} property.
1520 @lilypond[fragment,verbatim]
1522 \grace c8 c4 \grace { [c16 c16] } c4
1523 \grace { \property Grace.flagStyle = "" c16 } c4
1529 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1533 @code{\grace @{ \grace c32 c16 @} c4}
1536 may result in run-time errors of LilyPond. Since the meaning of such
1537 a construct is unclear, we don't consider this a loss. Similarly,
1538 juxtaposing two @code{\grace} sections is syntactically valid, but
1539 makes no sense and may cause runtime errors.
1541 Ending a staff or score with grace notes may also generate a run-time
1542 error, since there will be no main note to attach the grace notes to.
1551 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1552 keyword. Since repeats look and sound differently when played or
1553 printed, there are a few different variants of repeats.
1557 Repeated music is fully written (played) out. Useful for MIDI
1561 This is the normal notation: Repeats are not written out, but
1562 alternative endings (voltas) are printed, left to right.
1565 Alternative endings are written stacked, which is useful for
1569 The syntax for repeats is
1573 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1576 If you have alternative endings, you may add
1580 \alternative@keyindex{alternative}
1581 @code{@{} @var{alternative1}
1583 @var{alternative3} @dots{} @code{@}}
1586 where each @var{alternative} is a Music expression.
1588 Normal notation repeats are used like this:
1592 @lilypond[fragment,verbatim]
1594 \repeat volta 2 { c'4 d' e' f' }
1595 \repeat volta 2 { f' e' d' c' }
1600 With alternative endings:
1604 @lilypond[fragment,verbatim]
1606 \repeat volta 2 {c'4 d' e' f'}
1607 \alternative { {d'2 d'} {f' f} }
1612 Folded repeats look like this:@footnote{Folded repeats offer little
1613 more over simultaneous music. However, it is to be expected that
1614 more functionality -- especially for the MIDI backend -- will be
1619 @lilypond[fragment,verbatim]
1621 \repeat fold 2 {c'4 d' e' f'}
1622 \alternative { {d'2 d'} {f' f} }
1629 @lilypond[fragment,verbatim]
1633 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1634 \alternative { { g4 g g } { a | a a a a | b1 } }
1641 If you don't give enough alternatives for all of the repeats, then
1642 the first alternative is assumed to be repeated often enough to equal
1643 the specified number of repeats.
1647 @lilypond[fragment,verbatim]
1650 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1651 \alternative { { g4 g g }
1652 {\partial 1; e4 e e }
1653 {\partial 1; a a a a | b1 } }
1660 It is possible to nest @code{\repeat}. This is not entirely
1661 supported: the notes will come be in the right places, but the repeat
1669 @cindex transposition of pitches
1671 A music expression can be transposed with
1672 @code{\transpose}@keyindex{transpose}. The syntax is
1676 \transpose @var{pitch} @var{musicexpr}
1679 This means that middle C in @var{musicexpr} is transposed to
1682 @code{\transpose} distinguishes between enharmonic pitches: both
1683 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1684 a tone. The first version will print sharps and the second version
1689 @lilypond[fragment,verbatim]
1692 { \key e \major; c d e f }
1694 \transpose des'' { \key e \major; c d e f }
1695 \transpose cis'' { \key e \major; c d e f }
1701 If you want to use both @code{\transpose} and @code{\relative}, then
1702 you must use @code{\transpose} first. @code{\relative} will have no
1703 effect music that appears inside a @code{\transpose}.
1707 @cindex automatic lyric durations
1709 If you have lyrics that are set to a melody, you can import the
1710 rhythm of that melody into the lyrics using @code{\addlyrics}.
1711 @keyindex{addlyrics} The syntax for this is
1715 \addlyrics @var{musicexpr1 musicexpr2}
1718 This means that both @var{musicexpr1} and @var{musicexpr2} are
1719 interpreted, but that every non-command atomic music expression
1720 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1721 of @var{musicexpr1}.
1723 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1724 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1729 @lilypond[verbatim,fragment]
1732 \property Voice.automaticMelismata = ##t
1733 c8 () cis d8. e16 f2
1735 \context Lyrics \lyrics {
1741 You should use a single rhythm melody, and single rhythm lyrics (a
1742 constant duration is the obvious choice). If you do not, you will get
1743 undesired effects when using multiple stanzas:
1747 @lilypond[verbatim,fragment]
1750 c8 () cis d8. e16 f2
1752 \context Lyrics \lyrics
1759 It is valid (but probably not very useful) to use notes instead of
1760 lyrics for @var{musicexpr2}.
1766 @section Ambiguities
1770 The grammar contains a number of ambiguities.@footnote{The authors
1771 hope to resolve them at a later time.}
1774 @item The assignment
1780 can be interpreted as making a string identifier @code{\foo}
1781 containing @code{"bar"}, or a music identifier @code{\foo}
1782 containing the syllable `bar'.
1784 @item The assignment
1790 can be interpreted as making an integer identifier
1791 containing -6, or a Request identifier containing the
1792 fingering `6' (with neutral direction).
1794 @item If you do a nested repeat like
1806 then it is ambiguous to which @code{\repeat} the
1807 @code{\alternative} belongs. This is the classic if-then-else
1808 dilemma. It may be solved by using braces.
1810 @item (an as yet unidentified ambiguity :-)
1815 @node Notation conversion specifics
1816 @section Notation conversion specifics
1819 @node Automatic Beaming
1820 @section Automatic Beaming
1821 @cindex automatic beam generation
1824 @c beamAuto vs autoBeam ?
1826 By default, LilyPond will generate beams automatically. This feature
1827 can be disabled by setting the
1828 @code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to false.
1829 It can be overridden for specific cases by specifying explicit beams.
1832 A large number of Voice properties are used to decide how to generate
1833 beams. Their default values appear in @file{scm/auto-beam.scm}. In
1834 general, beams can begin anywhere, but their ending location is
1835 significant. Beams can end on a beat, or at durations specified by the
1837 @code{Voice.autoBeamSettings}@indexcode{Voice.autoBeamSettings}.
1838 To end beams every quarter note, for example, you could set the property
1839 @code{(end * * * *)} @indexcode{(end * * * *)} to `@code{(make-moment 1
1840 4)}'. To end beams at every three eighth notes you would set
1841 it to `@code{(make-moment 1 8)}'.
1842 The same syntax can be used to specify beam
1843 starting points using
1844 @code{(begin * * * *)}@indexcode{(begin * * * *)}, eg:
1847 \property Voice.autoBeamSettings \override
1848 #'(end * * * *) = #(make-moment 1 4)
1849 \property Voice.autoBeamSettings \override
1850 #'(begin * * * *) = #(make-moment 1 8)
1854 To allow different settings for different time signatures, instead of
1855 the first two asterisks @code{* *} you can specify a time signature; use
1856 @code{(end N M * *)} to restrict the definition to
1857 `@var{N}@code{/}@var{M}' time. For example, to specify beams ending
1858 only for 6/8 time you would use the property @code{(end 6 8 * *)}.
1860 To allow different endings for notes of different durations, instead of
1861 th last two asterisks you can specify a duration; use @code{(end * * N
1862 M)} to restrict the definition to beams that contain notes of
1863 `@var{N}@code{/}@var{M}' duration.
1865 For example, to specify beam endings for beams that contain 32nd notes,
1866 you would use @code{(end * * 1 32)}.
1870 @section Chord Names
1874 @cindex printing!chord names
1876 For displaying printed chord names, use the
1877 @code{ChordNames}@indexcode{ChordNames} and
1878 @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords
1879 may be entered either using the notation described above, or directly
1880 using simultaneous music.
1885 \chords {a1 b c} <d f g> <e g b>
1889 \context ChordNamesVoice \scheme
1890 \context Staff \transpose c'' \scheme
1892 \paper { linewidth = -1.; }
1898 You can make the chord changes stand out more by setting property
1899 @code{ChordNames.chordChanges} to true. This will only display
1900 chord names when there's a change in the chords scheme, but always
1901 display the chord name after a line break:
1907 c1:m \break c:m c:m c:m d
1912 \context ChordNames \scheme
1913 \context Staff \transpose c'' \scheme
1916 linewidth = 40 * \staffspace;
1928 LilyPond examines chords specified as lists of notes to determine a
1929 name to give the chord. LilyPond will not try to
1930 identify chord inversions or added base, which may result in strange
1931 chord names when chords are entered as a list of pitches:
1934 @lilypond[verbatim,center]
1943 \context ChordNamesVoice \scheme
1944 \context Staff \scheme
1946 \paper { linewidth = -1.; }
1951 To specify chord inversions, append @code{/<notename>}. To specify an
1952 added bass note, append @code{/+<notename}:
1955 @lilypond[verbatim,center]
1962 \context ChordNames \scheme
1963 \context Staff \transpose c'' \scheme
1965 \paper { linewidth = -1.; }
1970 The chord names that LilyPond should print are fully customisable. The
1971 default code can be found in @file{scm/chord-name.scm}. Chord names are
1972 based on Banter style naming, which is unambiguous and has a logical
1973 structure. Typical American style chord names are implemented as a
1974 variation on Banter names, they can be selected by setting poperty
1975 @code{ChordName.style} to @code{american}:
1979 \include "english.ly"
1984 df:m5- % Diminished triad
1985 c:5^3 % Root-fifth chord
1986 c:4^3 % Suspended fourth triad
1987 c:5+ % Augmented triad
1989 c:m5-.7- % Diminished seventh
1990 c:7+ % Major seventh
1991 c:7.4^3 % Dominant seventh suspended fourth
1992 c:5+.7 % Augmented dominant seventh
1993 c:m5-.7 % "Half" diminished seventh
1994 c:5-.7 % Dominant seventh flat fifth
1995 c:5-.7+ % Major seventh flat fifth
1996 c:m7+ % Minor-major seventh
1997 c:m7 % Minor seventh
1998 c:7 % Dominant seventh
2001 c:9^7 % Major triad w/added ninth
2002 c:6.9^7 % Six/Nine chord
2003 c:9 % Dominant ninth
2004 c:7+.9 % Major ninth
2005 c:m7.9 % Minor ninth
2010 \context ChordNames \scheme
2011 \context Staff \transpose c'' \scheme
2016 ChordName \override #'word-space = #1
2017 ChordName \override #'style = #'american
2024 Similarly, Jazz style chord names are implemented as a variation on
2025 American style names:
2031 c:6 % 6 = major triad with added sixth
2032 c:maj % triangle = maj
2037 c:m % m = minor triad
2038 c:m.6 % m6 = minor triad with added sixth
2039 c:m.7+ % m triangle = minor major seventh chord
2047 c:7.5+ % +7 = augmented dominant
2048 c:7.5- % 7b5 = hard diminished dominant
2055 c:13.9-^11 % 7(b9,13)
2056 c:13.9+^11 % 7(#9,13)
2058 c:13-.9-^11 % 7(b9,b13)
2059 c:13-.9+^11 % 7(#9,b13)
2061 % half diminished chords
2062 c:m5-.7 % slashed o = m7b5
2063 c:9.3-.5- % o/7(pure 9)
2066 c:m5-.7- % o = diminished seventh chord
2071 \context ChordNames \scheme
2072 \context Staff \transpose c'' \scheme
2077 ChordName \override #'word-space = #1
2078 ChordName \override #'style = #'jazz
2090 @cindex printing!lyrics
2093 Lyric syllables must be interpreted within a @code{Lyrics} context
2095 @cindex context!Lyrics
2098 Here is a full example:
2104 \notes \transpose c'' {
2106 e f g2 | e4 f g2 \bar "|.";
2108 \context Lyrics \lyrics {
2109 Va-4 der Ja- cob Va- der Ja- cob
2110 Slaapt gij nog?2 Slaapt4 gij nog?2
2118 You may want a continuous line after the syllables to show melismata.
2119 To achieve this effect, add a `@code{__}' lyric as a separate word
2120 after the lyric to be extended. This will create an extender, a line
2121 that extends over the entire duration of the lyric. This line will
2122 run all the way to the start of the next lyric, so you may want to
2123 shorten it by using a blank lyric (using `@code{_}').
2130 \notes \relative c'' {
2131 a4 () b () c () d | c () d () b () a | c () d () b () a
2133 \context Lyrics \lyrics {
2134 foo1 __ | bar2. __ _4 | baz1 __
2143 If you want to have hyphens centered between syllables (rather than
2144 attached to the end of the first syllable) you can use the special
2145 `@code{-}@code{-}' lyric as a separate word between syllables. This
2146 will result in a hyphen which length varies depending on the space
2147 between syllables, and which will be centered between the syllables.
2155 \notes \transpose c'' {
2157 e f g2 | e4 f g2 \bar "|.";
2159 \context Lyrics \lyrics {
2160 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
2161 Slaapt gij nog?2 | Slaapt4 gij nog?2
2171 @node Notation Contexts
2172 @section Notation Contexts
2174 @cindex notation contexts
2176 Notation contexts are objects that only exist during a run of
2177 LilyPond. During the interpretation phase of LilyPond, the Music
2178 expression contained in a @code{\score} block is interpreted in time
2179 order. This is the order in which humans read, play, and write
2182 A context is an object that holds the reading state of the
2183 expression; it contains information like
2186 @item What notes are playing at this point?
2187 @item What symbols will be printed at this point?
2188 @item In what style will they printed?
2189 @item What is the current key signature, time signature, point within
2193 Contexts are grouped hierarchically: A @code{Voice} context is
2194 contained in a @code{Staff} context (because a staff can contain
2195 multiple voices at any point), a @code{Staff} context is contained in
2196 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2197 these can all contain multiple staffs).
2199 Contexts associated with sheet music output are called @emph{notation
2200 contexts}, those for sound output are called playing contexts.
2202 Contexts are created either manually or automatically. Initially,
2203 the top level music expression is interpreted by the top level
2204 context (the @code{Score} context). When a atomic music expression
2205 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2206 set of contexts is created that can process these atomic expressions,
2212 \score @{ \notes < c4 > @}
2217 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2218 context. When the note `@code{c4}' itself is interpreted, a set of
2219 contexts is needed that will accept notes. The default for this is a
2220 @code{Voice} context, contained in a @code{Staff} context. Creation of
2221 these contexts results in the staff being printed.
2226 You can also create contexts manually, and you probably have to do so
2227 if you want to typeset complicated multiple part material. If a
2228 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2229 during the interpretation phase, the @var{musicexpr} argument will be
2230 interpreted with a context of type @var{name}. If you specify a name,
2231 the specific context with that name is searched.
2233 If a context of the specified type and name can not be found, a new
2234 one is created. For example,
2240 \notes \relative c'' {
2241 c4 <d4 \context Staff = "another" e4> f
2248 In this example, the @code{c} and @code{d} are printed on the
2249 default staff. For the @code{e}, a context Staff called
2250 `@code{another}' is specified; since that does not exist, a new
2251 context is created. Within @code{another}, a (default) Voice context
2252 is created for the @code{e4}. When all music referring to a
2253 context is finished, the context is ended as well. So after the
2254 third quarter, @code{another} is removed.
2256 Almost all music expressions inherit their interpretation context
2257 from their parent. In other words, suppose that the syntax for a
2262 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2265 When the interpretation of this music expression starts, the context
2266 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2269 Lastly, you may wonder, why this:
2275 \notes \relative c'' @{
2283 doesn't result in this:
2288 \notes \relative c'' {
2295 For the @code{c4}, a default @code{Staff} (with a contained
2296 @code{Voice}) context is created. After the @code{c4} ends, no
2297 music refers to this default staff, so it would be ended, with the
2298 result shown. To prevent this inconvenient behavior, the context to
2299 which the sequential music refers is adjusted during the
2300 interpretation. So after the @code{c4} ends, the context of the
2301 sequential music is also the default @code{Voice} context.
2302 The @code{d4} gets interpreted in the same context
2305 Properties that are set in one context are inherited by all of the
2306 contained contexts. This means that a property valid for the
2307 @code{Voice} context can be set in the @code{Score} context (for
2308 example) and thus take effect in all @code{Voice} contexts.
2310 Properties can be preset within the @code{\translator} block
2311 corresponding to the appropriate context. In this case, the syntax
2315 @var{propname} @code{=} @var{value}
2318 This assignment happens before interpretation starts, so a
2319 @code{\property} expression will override any predefined settings.
2321 The property settings are used during the interpretation phase. They
2322 are read by the LilyPond modules where interpretation contexts are
2323 built of. These modules are called @emph{translators}. Translators for
2324 notation are called @emph{engravers}, and translators for sound are
2325 called @emph{performers}.
2328 @mbinclude properties.itely
2331 @section Page layout
2333 @subsection Paper block
2335 The most important output definition is the @code{\paper} block, for
2336 music notation. The syntax is
2339 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2342 where each of the items is one of
2345 @item An assignment. The assignment must be terminated by a
2348 @item A context definition. See section @ref{contextdefs} for
2349 more information on context definitions.
2358 A margin shape declaration. The syntax is
2362 \shape @var{indent1}@code{,} @var{width1}@code{,}
2363 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2368 Each pair of @var{indent} and @var{width} values is a dimension
2369 specifying how far to indent and how wide to make the line.
2370 The indentation and width of successive lines are specified by
2371 the successive pairs of dimensions. The last pair of
2372 dimensions will define the characeristics of all lines beyond
2373 those explicitly specified.
2376 @item \stylesheet declaration. Its syntax is
2378 \stylesheet @var{alist}
2381 See @file{font.scm} for details of @var{alist}.
2385 @subsection Paper variables
2387 The paper block has some variables you may want to use or change:
2390 @item @code{indent}@indexcode{indent}
2391 The indentation of the first line of music.
2393 @item @code{staffspace}@indexcode{staffspace}
2394 The distance between two staff lines, calculated from the center
2395 of the lines. You should use either this or @code{rulethickness}
2396 as a unit for distances you modify.
2398 @item @code{linewidth}@indexcode{linewidth}
2399 Sets the width of the lines. If set to -1.0, a single
2400 unjustified line is produced. If you use this variable, you
2401 probably want to define it in staff spaces, ie
2403 linewidth = 30 * \staffspace;
2406 @item @code{textheight}@indexcode{textheight}
2407 Sets the total height of the music on each page. Only used by
2410 @item @code{interscoreline}@indexcode{interscoreline}
2411 Sets the spacing between the score lines. Defaults to 16 pt.
2413 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2414 If set to a positive number, the distance between the score
2415 lines will stretch in order to fill the full page. In that
2416 case @code{interscoreline} specifies the minimum spacing.
2419 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2420 Determines the thickness of staff lines, and also acts as a scaling
2421 parameter for other line thicknesses.
2425 @subsection Line breaks
2428 @cindex breaking lines
2430 Line breaks are normally computed automatically. They are chosen such
2431 that the resulting spacing has low variation, and looks neither cramped
2434 Occasionally you might want to override the automatic breaks; you can do
2435 this by specifying @code{\break} (see also @ref{Pre-defined
2436 Identifiers}). This will force a line break at this point. Do remember
2437 that line breaks can only occur at places where there are barlines. If
2438 you want to have a line break where there is no barline, you can force a
2439 barline by entering @code{\bar "";}.
2441 @subsection Page breaks
2443 Page breaks are normally computed by @TeX{}, so they are not under direct
2444 control. However, you can insert a commands into the .tex output to
2445 instruct @TeX{} where to break pages. For more details, see the
2446 example file @file{input/test/between-systems.ly}
2450 @cindex breaking pages
2453 @subsection Font size
2458 The Feta font provides musical symbols at six different sizes. These
2459 fonts are 11 point, 13 point, 16 point, 20 point,
2460 23 point, and 26 point. The point size of a font is the
2461 height of the five lines in a staff when displayed in the font.
2463 Definitions for these sizes are the files @file{paperSZ.ly}, where
2464 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
2465 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
2466 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
2467 @code{paperTwentysix} are defined respectively. The default
2468 @code{\paper} block is also set.
2470 The font definitions are generated using a Scheme function. For more
2471 details, see the file @file{font.scm}.
2473 @subsection paper size
2478 To change the paper size, you must first set the
2479 @code{papersize}@indexcode{papersize} variable at top level. Set it to
2480 the strings @code{a4}, @code{letter}, or @code{legal}. After this
2481 specification, you must set the font as described above. If you want
2482 the default font, then use the 20 point font. The new paper size will
2483 not take effect if the font is not loaded and selected afterwards.
2487 \include "paper16.ly"
2491 \paper @{ \paperSixteen @}
2495 The file "paper16.ly" will now include a file named @file{a4.ly}, which
2496 will set the paper variables @code{hsize} and @code{vsize} (used by
2500 @section contextdefs
2502 @cindex context definition
2503 @cindex translator definition
2504 @cindex engraver hacking
2507 A notation contexts is defined by the following information
2512 @item The LilyPond modules that do the actual conversion of music to
2513 notation. Each module is a so-called
2518 @item How these modules should cooperate, i.e. which ``cooperation
2519 module'' should be used. This cooperation module is a special
2522 @item What other contexts the context can contain,
2524 @item What properties are defined.
2527 A context definition has this syntax:
2531 \translator @code{@{}
2532 @var{translatorinit} @var{translatormodifierlist}
2536 @var{translatorinit} can be an identifier or of the form
2540 \type @var{typename} @code{;}
2543 @var{typename} is one of
2546 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2547 The standard cooperation engraver.
2549 @item @code{Score_engraver}@indexcode{Score_engraver}
2550 This is cooperation module that should be in the top level context.
2552 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2553 This is a special cooperation module (resembling
2554 @code{Score_engraver}) that is used to created an embedded
2558 @var{translatormodifierlist} is a list of items where each item is
2562 @item @code{\consists} @var{engravername} @code{;}
2563 Add @var{engravername} to the list of modules in this context.
2564 The order of engravers added with @code{\consists} is
2567 @item @code{\consistsend} @var{engravername} @code{;}
2568 Analogous to @code{\consists}, but makes sure that
2569 @var{engravername} is always added to the end of the list of
2572 Some engraver types need to be at the end of the list; this
2573 insures they are put there, and stay there, if a user adds or
2574 removes engravers. This command is usually not needed for
2577 @item @code{\accepts} @var{contextname} @code{;}
2578 Add @var{contextname} to the list of context this context can
2579 contain. The first listed context is the context to create by
2582 @item @code{\denies}. The opposite of @code{\accepts}. Added for
2583 completeness, but is never used in practice.
2586 @item @code{\remove} @var{engravername} @code{;}
2587 Remove a previously added (with @code{\consists}) engraver.
2589 @item @code{\name} @var{contextname} @code{;}
2590 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2591 the name is not specified, the translator won't do anything.
2593 @item @var{propname} @code{=} @var{value} @code{;}
2594 A property assignment. It is allowed to use reals for
2598 In the @code{\paper} block, it is also possible to define translator
2599 identifiers. Like other block identifiers, the identifier can only
2600 be used as the very first item of a translator. In order to define
2601 such an identifier outside of @code{\score}, you must do
2607 foo = \translator @{ @dots{} @}
2614 \translator @{ \foo @dots{} @}
2622 @cindex paper types, engravers, and pre-defined translators
2624 Some pre-defined identifiers can simplify modification of
2625 translators. The pre-defined identifiers are:
2628 @item @code{StaffContext}@indexcode{StaffContext}
2629 Default Staff context.
2631 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2632 Default RhythmicStaff context.
2634 @item @code{VoiceContext}@indexcode{VoiceContext}
2635 Default Voice context.
2637 @item @code{ScoreContext}@indexcode{ScoreContext}
2638 Default Score context.
2640 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2641 Score context with numbering at the Score level.
2643 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2644 Staff context with numbering at the Staff level.
2646 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2647 Staff context that does not print if it only contains rests.
2648 Useful for orchestral scores.@footnote{Harakiri, also called
2649 Seppuku, is the ritual suicide of the Samourai.}
2651 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2653 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2656 Using these pre-defined values, you can remove or add items to the
2665 \remove Some_engraver;
2666 \consists Different_engraver;
2675 @section Sound output
2677 The MIDI block is analogous to the paper block, but it is somewhat
2678 simpler. The @code{\midi} block can contain:
2682 @item a @code{\tempo} definition
2683 @item context definitions
2686 Assignments in the @code{\midi} block are not allowed.
2690 @cindex context definition
2692 Context definitions follow precisely the same syntax as within the
2693 \paper block. Translation modules for sound are called performers.
2694 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2698 @cindex MIDI instrument names
2703 The MIDI instrument name is set by the
2704 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2705 if that property is not set, the
2706 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2707 instrument name should be chosen from the following list. If the
2708 selected string does not exactly match, then LilyPond uses the default
2714 "acoustic grand" "contrabass" "lead 7 (fifths)"
2715 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2716 "electric grand" "pizzicato strings" "pad 1 (new age)"
2717 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2718 "electric piano 1" "timpani" "pad 3 (polysynth)"
2719 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2720 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2721 "clav" "synthstrings 1" "pad 6 (metallic)"
2722 "celesta" "synthstrings 2" "pad 7 (halo)"
2723 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2724 "music box" "voice oohs" "fx 1 (rain)"
2725 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2726 "marimba" "orchestra hit" "fx 3 (crystal)"
2727 "xylophone" "trumpet" "fx 4 (atmosphere)"
2728 "tubular bells" "trombone" "fx 5 (brightness)"
2729 "dulcimer" "tuba" "fx 6 (goblins)"
2730 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2731 "percussive organ" "french horn" "fx 8 (sci-fi)"
2732 "rock organ" "brass section" "sitar"
2733 "church organ" "synthbrass 1" "banjo"
2734 "reed organ" "synthbrass 2" "shamisen"
2735 "accordion" "soprano sax" "koto"
2736 "harmonica" "alto sax" "kalimba"
2737 "concertina" "tenor sax" "bagpipe"
2738 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2739 "acoustic guitar (steel)" "oboe" "shanai"
2740 "electric guitar (jazz)" "english horn" "tinkle bell"
2741 "electric guitar (clean)" "bassoon" "agogo"
2742 "electric guitar (muted)" "clarinet" "steel drums"
2743 "overdriven guitar" "piccolo" "woodblock"
2744 "distorted guitar" "flute" "taiko drum"
2745 "guitar harmonics" "recorder" "melodic tom"
2746 "acoustic bass" "pan flute" "synth drum"
2747 "electric bass (finger)" "blown bottle" "reverse cymbal"
2748 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2749 "fretless bass" "whistle" "breath noise"
2750 "slap bass 1" "ocarina" "seashore"
2751 "slap bass 2" "lead 1 (square)" "bird tweet"
2752 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2753 "synth bass 2" "lead 3 (calliope)" "helicopter"
2754 "violin" "lead 4 (chiff)" "applause"
2755 "viola" "lead 5 (charang)" "gunshot"
2756 "cello" "lead 6 (voice)"
2762 @node Pre-defined Identifiers
2764 @section Pre-defined Identifiers
2766 @cindex pre-defined identifiers
2769 Various identifiers are defined in the initialization files to
2770 provide shorthands for some settings. Most of them are in
2771 @file{ly/declarations.ly} and @file{ly/property.ly}.
2774 @item @code{\break}@keyindex{break}
2775 Force a line break in music by using a large argument for the
2776 keyword @code{\penalty}.
2778 @item @code{\nobreak}@keyindex{nobreak}
2779 Prevent a line break in music by using a large negative argument
2780 for the keyword @code{\penalty}.
2782 @item @code{\shiftOff}@keyindex{shiftOff}
2783 Disable horizontal shifting of note heads that collide.
2785 @item @code{\shiftOn}@keyindex{shiftOn}
2786 Enable note heads that collide with other note heads to be
2787 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
2788 set different shift values.
2790 @item @code{\stemBoth}@keyindex{stemBoth}
2791 Allow stems, beams, and slurs to point either upwards or
2792 downwards, decided automatically by LilyPond.
2794 @item @code{\stemDown}@keyindex{stemDown}
2795 Force stems, beams, and slurs to point down.
2797 @item @code{\stemUp}@keyindex{stemUp}
2798 Force stems, beams and slurs to point up.