4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
11 @unnumberedsubsec Bugs
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
21 This document describes GNU LilyPond and its input format. The last
22 revision of this document was for LilyPond 1.3.141.
44 * Interpretation context::
54 The purpose of LilyPond is explained informally by the term `music
55 typesetter'. This is not a fully correct name: not only does the
56 program print musical symbols, it also makes esthetic decisions.
57 Symbols and their placements are @emph{generated} from a high-level
58 musical description. In other words, LilyPond would be best described
59 by `music compiler' or `music to notation compiler'.
61 LilyPond is linked to GUILE, GNU's Scheme library for extension. The
62 Scheme library provides the glue that holds together the low-level
63 routines and separate modules general, which are C++.
65 When lilypond is run to typeset sheet music, the following happens:
67 @item GUILE Initialization: various scheme files are read
68 @item parsing: first standard @code{ly} initialization files are read, and
69 then the user @file{ly} file is read.
70 @item interpretation: the music in the file is processed ``in playing
71 order'', i.e. the order that you use to read sheet music, or the
72 order in which notes are played.
75 in this step, the results of the interpretation, a typesetting
76 specification, is solved.
78 @item the visible results ("virtual ink") is written to the output file.
81 During these stages different types of data play the the main role:
82 during parsing, @strong{Music} objects are created. During the
83 interpretation, @strong{context} is constructed, and with this context
84 af network of @strong{graphical objects} (``grobs'') is created. The
85 grobs contain unknown variables, and the network forms a set of
86 equations. After solving the equations and filling in these variables,
87 the printed output (in the form of @strong{molecules}) is written to an
90 These threemanship of tasks (parsing, translating, typesetting) and
91 data-structures (music, context, graphical objects) permeates the entire
92 design of the program. This manual is ordered in terms of user
93 tasks. With each concept will be explained to which of the three parts
102 The most basic forms of music are notes. We discuss how you enter them
103 here. Notes on their own don't form valid input, but for the sake of
104 brevity we omit obligotary lint such as @code{\score} blocks and
105 @code{\paper} declarations.
110 * Defining pitch names::
113 * Easy Notation note heads ::
126 @cindex Note specification
128 @cindex entering notes
130 The verbose syntax for pitch specification is
132 @cindex @code{\pitch}
134 \pitch @var{scmpitch}
137 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
139 In Note and Chord mode, pitches may be designated by names. The default
140 names are the Dutch note names. The notes are specified by the letters
141 @code{a} through @code{g} (where the octave is formed by notes ranging
142 from @code{c}, to @code{b}). The pitch @code{c} is an octave below
143 middle C and the letters span the octave above that C.
145 @cindex note names, Dutch
147 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
148 name. A flat is formed by adding @code{-es}. Double sharps and double
149 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
150 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
151 both forms are accepted.
153 LilyPond has predefined sets of notenames for various other languages.
154 To use them, simply include the language specific init file. For
155 example: @code{\include "english.ly"}. The available language files and
156 the names they define are:
159 Note Names sharp flat
160 nederlands.ly c d e f g a bes b -is -es
161 english.ly c d e f g a bf b -s/-sharp -f/-flat
162 deutsch.ly c d e f g a b h -is -es
163 norsk.ly c d e f g a b h -iss/-is -ess/-es
164 svenska.ly c d e f g a b h -iss -ess
165 italiano.ly do re mi fa sol la sib si -d -b
166 catalan.ly do re mi fa sol la sib si -d/-s -b
174 The optional octave specification takes the form of a series of
175 single quote (`@code{'}') characters or a series of comma
176 (`@code{,}') characters. Each @code{'} raises the pitch by one
177 octave; each @code{,} lowers the pitch by an octave.
179 @lilypond[fragment,verbatim,center]
180 c' c'' es' g' as' gisis' ais'
183 @c . {Defining pitch names}
184 @node Defining pitch names
185 @subsection Defining pitch names
187 @cindex defining pitch names
188 @cindex pitch names, defining
190 Note names and chord modifiers can be customised for nationalities. The
191 syntax is as follows.
193 @cindex @code{\pitchnames}
194 @cindex @code{\chordmodifiers}
196 \pitchnames @var{scheme-alist}
197 \chordmodifiers @var{scheme-alist}
200 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
201 specific examples how to do this.
207 @subsection Durations
211 @cindex @code{\duration}
213 The syntax for a verbose duration specification is
215 \duration @var{scmduration}
217 Here, @var{scmduration} is a Scheme object of type Duration. See
218 @ref{Duration} for more information.
221 In Note, Chord, and Lyrics mode, durations may be designated by numbers
222 and dots: durations are entered as their reciprocal values. For notes
223 longer than a whole note, use identifiers.
229 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
231 r1 r2 r4 r8 r16 r32 r64 r64
237 \notes \relative c'' {
238 a\longa a\breve \autoBeamOff
239 a1 a2 a4 a8 a16 a32 a64 a64
241 r1 r2 r4 r8 r16 r32 r64 r64
246 \remove "Clef_engraver";
247 \remove "Staff_symbol_engraver";
248 \remove "Time_signature_engraver";
249 \consists "Pitch_squash_engraver";
256 As you can see, the longa is not printed. To get a longa note head, you
257 have to use a mensural note heads. This is done accomplished by setting
258 the @code{style} property of the NoteHead grob to @code{mensural}.
260 If the duration is omitted then it is set to the previous duration
261 entered. At the start of parsing a quarter note is assumed. The
262 duration can be followed by a dot (`@code{.}') to obtain dotted note
266 @lilypond[fragment,verbatim,center]
272 You can alter the length of duration by appending
273 `@code{*}@var{fraction}'. This will not affect the appearance of the
274 notes or rests produced.
280 A note specification has the form
283 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
286 LilyPond will determine what accidentals to typeset depending on the key
287 and context. The alteration refers to what note is heard, not to whether
288 an accidental is printed. A reminder accidental
289 @cindex reminder accidental
291 can be forced by adding an exclamation mark @code{!} after the pitch. A
292 cautionary accidental,
293 @cindex cautionary accidental
294 i.e., an accidental within parentheses can be obtained by adding the
295 question mark `@code{?}' after the pitch.
297 @lilypond[fragment,verbatim,center]
298 cis' d' e' cis' c'? d' e' c'!
302 @node Easy Notation note heads
303 @subsection Easy Notation note heads
305 @cindex easy notation
308 A entirely different type of note head is the "easyplay" note head: a
309 note head that includes a note name. It is used in some publications by
310 Hal-Leonard Inc. music publishers.
312 @lilypond[singleline,verbatim]
313 \include "paper26.ly"
315 \notes { c'2 e'4 f' | g'1 }
316 \paper { \translator { \EasyNotation } }
320 Note that @code{EasyNotation} overrides a @code{Score} context. You
321 probably will want to print it with magnification to make it better
327 If you view the result with Xdvi, then staff lines will show through the
328 letters. Printing the postscript file obtained either by using dvips or
329 the @code{-f ps} option of lilypond will produce the desired result.
339 A tie connects two adjacent note heads of the same pitch. When used
340 with chords, it connects all of the note heads whose pitches match.
341 Ties are indicated using the tilde symbol `@code{~}'.
342 If you try to tie together chords which have no common pitches, a
343 warning message will appear and no ties will be created.
345 @lilypond[fragment,verbatim,center]
346 e' ~ e' <c' e' g'> ~ <c' e' g'>
349 If you dislike the amount of ties created for a chord, you set
350 @code{Voice.sparseTies} to true, resulting in a smaller number of
352 @lilypond[fragment,verbatim,center]
353 \property Voice.sparseTies = ##t
354 <c' e' g'> ~ <c' e' g'>
357 In its meaning a tie is just a way of extending a note duration, similar
358 to the augmentation dot: the following example are three ways of notating
359 exactly the same concept.
360 @lilypond[fragment, singleline]
366 At present, the tie is implemented as a separate thing, temporally
367 located in between the notes. There is also no way to convert
368 between tied notes, dotted notes and plain notes.
370 Tieing only a subset of the note heads of a chord is not supported in a
371 simple way. It can be achieved by moving the tie-engraver into Thread
372 context and turning off ties per Thread.
380 @cindex @code{\times}
382 Tuplets are made out of a music expression by multiplying their duration
385 @cindex @code{\times}
387 \times @var{fraction} @var{musicexpr}
390 The duration of @var{musicexpr} will be multiplied by the fraction.
391 In print, the fraction's denominator will be printed over the notes,
392 optionally with a bracket. The most common tuplet is the triplet in
393 which 3 notes have the length of 2, so the notes are 2/3 of
394 their written length:
396 @lilypond[fragment,verbatim,center]
397 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
400 The property @code{tupletSpannerDuration} specifies how long brackets
401 should last. With this, you can make lots of tuplets while typing
402 @code{\times} only once. This saves typing work when you must make lots
405 @lilypond[fragment, relative, singleline, verbatim]
406 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
407 \times 2/3 { c''8 c c c c c }
415 Rests are entered like notes, with note name `@code{r}'.
425 \skip @var{duration} @code{;}
430 Skips the amount of time specified by @var{duration}. If no other music
431 is played, a gap will be left for the skipped time with no notes
432 printed. The shorthand is only available in Note and Chord mode.
437 @subsection Note mode
442 @cindex @code{\notes}
444 Note mode is the lexical mode generally used for inputting notes. The
450 This instructs the tokenizer to interpret @var{expr} in note mode. If a
451 a sequence of alfabetical characters, like @code{foobar}, LilyPond first
452 checks if @code{foobar} is a pitch name. If it is not a pitch name,
453 then it is treated as a string.
455 Numbers and dots indicate durations, so you can enter floating point
456 numbers in this mode.
460 @section Staff notation
462 @cindex Staff notation
474 @subsection Key signature
479 Changing the key signature is done with the @code{\key} command.
481 @code{\key} @var{pitch} @var{type} @code{;}
484 @cindex @code{\minor}
485 @cindex @code{\major}
486 @cindex @code{\minor}
487 @cindex @code{\ionian}
488 @cindex @code{\locrian}
489 @cindex @code{\aeolian}
490 @cindex @code{\mixolydian}
491 @cindex @code{\lydian}
492 @cindex @code{\phrygian}
493 @cindex @code{\dorian}
495 Here, @var{type} should be @code{\major} or @code{\minor} to get
496 @var{pitch}-major or @var{pitch}-minor, respectively. The second
497 argument is optional; the default is major keys. The @var{\context}
498 argument can also be given as an integer, which tells the number of
499 semitones that should be added to the pitch given in the subsequent
500 @code{\key} commands to get the corresponding major key, e.g.,
501 @code{\minor} is defined as 3. The standard mode names @code{\ionian},
502 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
503 @code{\phrygian}, and @code{\dorian} are also defined.
505 This command sets context property @code{Staff.keySignature}.
507 @cindex @code{keySignature}
514 \clef @var{clefname} @code{;}
520 \property Staff.clefGlyph = @var{glyph associated with clefname}
521 \property Staff.clefPosition = @var{clef Y-position for clefname}
522 \property Staff.clefOctavation = @var{extra pitch of clefname}
525 Supported clef-names include
528 @item treble, violin, G, G2: G clef on 2nd line
529 @item french: G clef on 1st line
530 @item soprano: C clef on 1st line
531 @item mezzosoprano: C clef on 2nd line
532 @item alto: C clef on 3rd line
533 @item tenor: C clef on 4th line
534 @item baritone: C clef on 5th line
535 @item varbaritone: F clef on 3rd line
536 @item bass, F: F clef on 4th line
537 @item subbass: F clef on 5th line
538 @item percussion: percussion clef
541 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
544 @item clefs-C: modern style C clef
545 @item clefs-F: modern style F clef
546 @item clefs-G: modern style G clef
547 @item clefs-vaticana_do: Editio Vaticana style do clef
548 @item clefs-vaticana_fa: Editio Vaticana style fa clef
549 @item clefs-medicaea_do: Editio Medicaea style do clef
550 @item clefs-medicaea_fa: Editio Medicaea style fa clef
551 @item clefs-mensural1_c: modern style mensural C clef
552 @item clefs-mensural2_c: historic style small mensural C clef
553 @item clefs-mensural3_c: historic style big mensural C clef
554 @item clefs-mensural1_f: historic style traditional mensural F clef
555 @item clefs-mensural2_f: historic style new mensural F clef
556 @item clefs-mensural_g: historic style mensural G clef
557 @item clefs-hufnagel_do: historic style hufnagel do clef
558 @item clefs-hufnagel_fa: historic style hufnagel fa clef
559 @item clefs-hufnagel_do_fa: historic style hufnagel combined do/fa clef
560 @item clefs-percussion: modern style percussion clef
563 @emph{Modern style} means ``as is typeset in current editions.''
564 @emph{Historic style} means ``as was typeset or written in contemporary
565 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
568 @cindex Vaticana, Editio
569 @cindex Medicaea, Editio
570 @cindex hufnagel clefs
573 @c . {Time signature}
575 @subsection Time signature
576 @cindex Time signature
580 The time signature is changed by the @code{\time} command. Syntax:
582 \time @var{numerator}@code{/}@var{denominator} @code{;}
584 Internally, this is a shortcut for doing
586 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
589 [TODO: discuss options for layout]
596 @cindex partial measure
597 @cindex measure, partial
598 @cindex shorten measures
599 @cindex @code{\partial}
601 Partial measures are entered using the @code{\partial} command:
603 \partial @var{duration} @code{;}
606 Internally, this is a shortcut for
609 \property Score.measurePosition = -@var{length of duration}
614 @node Unmetered music
615 @subsection Unmetered music
617 Bar lines and bar numbers are calculated automatically. For unmetered
618 music (e.g. cadenzas), this is not desirable. The property
619 @code{Score.timing} can be used to switch off this automatic timing
621 @lilypond[fragment,relative,singleline,verbatim]
623 \property Score.timing = ##f
625 \property Score.timing = ##t
629 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
630 achieve the same effect.
636 @subsection Bar lines
640 @cindex measure lines
647 This is a shortcut for doing
649 \property Score.whichBar = @var{bartype}
652 You are encouraged to use @code{\repeat} for repetitions. See
653 @ref{Repeats}, and the documentation of @code{whichBar} in the generated
657 @cindex Bar_line_engraver
659 @cindex repeatCommands
660 @cindex defaultBarType
662 Bar lines are created by the @code{Bar_line_engraver}. That engraver examines
663 @code{whichBar} at every moment. Whenever it is set to a string, it will
664 create a bar with that type. @code{whichBar} is usually set
665 automatically: at the start of a measure it is set to
666 @code{defaultBarType}. The contents of @code{repeatCommands} is used to
667 override default measure bars.
669 @code{whichBar} can also be set directly, using @code{\property} or
670 @code{\bar ; }. These settings take precedence over automatic @code{whichBar}
679 [TODO: collisions, rest-collisinos, voiceX identifiers, how to
680 which contexts to instantiate. some small examples? ]
684 @cindex @code{\shiftOff}
685 @item @code{\shiftOff}
686 Disable horizontal shifting of note heads that collide.
688 @cindex @code{\shiftOn}
689 @item @code{\shiftOn}
690 Enable note heads that collide with other note heads to be
691 shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
692 set different shift values.
694 @cindex @code{\stemBoth}
695 @item @code{\stemBoth}
696 Allow stems and beams to point either upwards or
697 downwards, decided automatically by LilyPond.
699 @cindex @code{\stemDown}
700 @item @code{\stemDown}
701 Force stems and beams to point down.
703 @cindex @code{\stemUp}
705 Force stems and beams to point up.
708 @cindex @code{\slurBoth}
709 @cindex @code{\slurDown}
710 @cindex @code{\slurUp}
711 Similarly, for slurs use
716 @cindex @code{\tieBoth}
717 @cindex @code{\tieDown}
718 @cindex @code{\tieUp}
724 @cindex @code{\dynacmicBoth}
725 @cindex @code{\dynamicDown}
726 @cindex @code{\dynamicUp}
732 @c text scripts? articulation scripts? fingering?
734 @cindex @code{\voiceOne}
735 @cindex @code{\voiceTwo}
736 @cindex @code{\voiceThree}
737 @cindex @code{\voiceFour}
738 @cindex @code{\oneVoice}
739 @cindex @code{\shiftOn}
740 @cindex @code{\shiftOff}
742 If two voices sharing one staff have the same stem directions, their
743 note heads may collide. You can shift the note heads of one voice by
744 setting @code{\shiftOn}. This can be undone by setting
747 For simple polyphonic music, shorthands are available that combine
748 directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
749 @code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
755 Beams are used to group short notes into chunks that are aligned with
756 the metrum. LilyPond guesses where beams should be inserted, but if
757 you're not satisfied with the automatic beaming, you can either instruct
758 lilypond which patterns to beam automatically. In specific cases, you
759 can also specify explicitly what to beam and what not.
762 @c . {Automatic beams}
763 @subsection Automatic beams
765 @cindex @code{Voice.autoBeamSettings}
766 @cindex @code{(end * * * *)}
767 @cindex @code{(begin * * * *)}
769 A large number of Voice properties are used to decide how to generate
770 beams. Their default values appear in @file{scm/auto-beam.scm}.
772 By default, automatic beams can start on any note@footnote{In exotic
773 time signatures such as 1/8 and 1/16 this is not true} but can only end
774 in a few positions within the measure: they can end on a beat, or at
775 durations specified by the properties in
776 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
777 are defined in @file{scm/auto-beam.scm}.
779 The syntax for changing the value @code{autoBeamSettings} is set using
780 @code{\override} and unset using @code{\revert}:
782 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
783 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
785 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
786 whether the rule applies to begin or end-points. The quantity
787 @var{N}/@var{M} refers to a time signature (@code{* *} may be entered to
788 designate all time signatures), @var{P}/@var{Q} refers to the length of
789 the beamed notes (@code{* *} designate notes of any length).
791 If you want automatic beams to end on every quarter note, you can
794 \property Voice.autoBeamSettings \override
795 #'(end * * * *) = #(make-moment 1 4)
797 The duration a quarter note is 1/4 of a whole note. It is entered as
798 @code{(make-moment 1 4)}.
800 The same syntax can be used to specify beam starting points. In this
801 example, you automatic beams can only end on a dotted quarter note.
803 \property Voice.autoBeamSettings \override
804 #'(begin * * * *) = #(make-moment 3 8)
806 In 4/4 time signature, this means that automatic beams could end only on
807 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
808 3/8 has passed within the measure).
810 You can also restrict rules to specific time signatures. A rule that
811 should only be applied in @var{N}/@var{M} time signature is formed by
812 replacing the first asterisks by @var{N} and @var{M}. For example, a
813 rule for 6/8 time exclusively looks like
815 \property Voice.autoBeamSettings \override
816 #'(begin 6 8 * *) = ...
819 If you want a rule to apply to certain types of beams, you can use the
820 second pair of asterisks. Beams are classified according to the shortest
821 note they contain. For a beam ending rule that only applies to beams
822 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
825 [say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
827 Automatic beams can not be put on the last note in a score.
829 @cindex automatic beam generation
831 @cindex @code{Voice.noAutoBeaming}
833 Automatic beaming is on by default, but it can switched off by setting
834 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
835 a melody that goes with lyrics.
839 It is not possible to specify beaming for beams with mixed durations,
840 that differs from the beaming of all separate durations, ie, you'll
841 have to specify manual beams to get:
842 @lilypond[fragment,singleline,relative]
843 \property Voice.autoBeamSettings
844 \override #'(end * * * *) = #(make-moment 3 8)
845 \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
850 @cindex Automatic beams
851 @subsection Manual beams
852 @cindex beams, manual
856 In some cases it may be necessary to override LilyPond's automatic
857 beaming algorithm. For example, the auto beamer will not beam over
858 rests or bar lines, so if you want that, specify the begin and end point
859 manually using @code{[} and @code{]}:
861 @lilypond[fragment,relative,verbatim]
863 r4 [r8 g'' a r8] r8 [g | a] r8
866 Whenever an manual beam is busy, the auto beam will not produce
869 @cindex @code{stemLeftBeamCount}
871 If you have specific wishes for the number of beams, you can fully
872 control the number of beams through the properties
873 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}.
875 @lilypond[fragment,relative,verbatim]
878 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
881 @cindex @code{stemRightBeamCount}
883 The beam symbol can be tweaked through @code{Voice.Beam}'s
884 grob-properties @code{height} and @code{staff-position},
887 Set @code{height} to zero, to get horizontal beams:
889 @lilypond[fragment,relative,verbatim]
890 \property Voice.Beam \set #'direction = #1
891 \property Voice.Beam \set #'height = #0
895 Here's how you'd specify a weird looking beam that instead of being
896 horizontal, falls two staff spaces:
898 @lilypond[fragment,relative,verbatim]
899 \property Voice.Beam \set #'staff-position = #2
900 \property Voice.Beam \set #'height = #-2
903 @cindex @code{default-neutral-direction}
905 @node Expressive marks
906 @section Expressive marks
921 A slur indicates that notes are to be played bound or @emph{legato}. In
922 lilypond, they are entered using parentheses:
923 @lilypond[fragment,verbatim,center]
924 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
928 Slurs avoid crossing stems, and are attached to note heads whenever
929 possible. In some instances involving beams slurs may be attached to a
930 stem end. If you want to override this layout you can do this through
931 @code{Voice.Slur}'s grob-property @code{attachment}:
933 Maybe reinclude other slur features and move back to tricks? Esp. the
934 second example, how to fix, can be very helpful.
936 @lilypond[fragment,relative,verbatim]
937 \property Voice.Slur \set #'direction = #1
938 \property Voice.Stem \set #'length = #5.5
940 \property Voice.Slur \set #'attachment = #'(stem . stem)
944 If a slur would strike through a stem or beam, the slur will be moved
945 away upward or downward. If this happens, attaching the slur to the
946 stems might look better:
948 @lilypond[fragment,relative,verbatim]
949 \property Voice.Stem \set #'direction = #1
950 \property Voice.Slur \set #'direction = #1
952 \property Voice.Slur \set #'attachment = #'(stem . stem)
957 Similarly, the curvature of a slur is adjusted to stay clear of note
958 heads and stems. When that would increase the curvature too much, the
959 slur is reverted to its default shape. The threshold for this decision
960 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
961 related to the enclosed area between the slur and the notes. Usually,
962 the default setting works well, but in some cases you may prefer a
963 curved slur when LilyPond decides for a vertically moved one. You can
964 express this by increasing the @code{beautiful} value:
966 @lilypond[verbatim,singleline,relative]
967 \property Voice.Beam \override #'direction = #-1
968 \property Voice.Slur \override #'direction = #1
969 c'16( a' f' a a f a, )c,
971 \property Voice.Slur \override #'beautiful = #5.0
977 The definition for @code{beautiful} is vague, the default setting is
978 experimental computer science.
980 @cindex Adusting slurs
983 @subsection Phrasing slur
985 @cindex phrasing slur
986 @cindex phrasing mark
988 A phrasing slur (or phrasing mark) connects chords and is used to
989 indicate a musical sentence. It is entered using @code{\(} and
992 @lilypond[fragment,verbatim,center,relative]
993 \time 6/4; c''\((d)e f(e)\)d
996 Typographically, the phrasing slur behaves almost exactly like a normal
997 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1000 @subsection Breath marks
1002 Breath marks are entered using @code{\breathe}:
1004 @lilypond[fragment,relative]
1008 Currently, only tick marks are supported, comma style breath marks are
1009 not. The grob for this object is called @code{Voice.BreathingSign}.
1014 Currently, only tick marks are supported, comma style breath marks are
1022 @cindex beats per minute
1023 @cindex metronome marking
1025 @cindex @code{\tempo}
1027 \tempo @var{duration} = @var{perminute} @code{;}
1030 Used to specify the tempo. For example, @code{\tempo 4 = 76;} requests
1031 output with 76 quarter notes per minute.
1035 The tempo setting is not printed, but is currently only used in the MIDI
1041 @subsection Text spanner
1042 @cindex Text spanner
1044 Some textual indications, e.g. rallentando, accelerando, often extend
1045 over a many measures. This is indicated by following the text with a
1046 dotted line. You can create such texts in LilyPond using
1047 text spanners. The syntax is as follows:
1049 \spanrequest \start "text"
1050 \spanrequest \stop "text"
1052 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1053 string to be printed, as well as the style is set through grob
1056 An application---or rather, a hack---is to fake octavation indications.
1057 @lilypond[fragment,relative,verbatim]
1058 \relative c' { a'''' b c a
1059 \property Voice.TextSpanner \set #'type = #'dotted-line
1060 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1061 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1062 \property Staff.centralCPosition = #-13
1063 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1081 @subsection Articulation
1082 @cindex Articulation
1084 @cindex articulations
1088 A variety of symbols can appear above and below notes to indicate
1089 different characteristics of the performance. These symbols can be
1090 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1091 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
1092 forced to appear above or below the note by writing
1093 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
1094 respectively. Here is a chart showing symbols above notes, with the
1095 name of the corresponding symbol appearing underneath.
1100 \property Score.LyricSyllable \override #'font-family =
1102 \property Score.LyricSyllable \override #'font-shape = #'upright
1103 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1104 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1105 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1106 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1107 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1108 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1109 c''-\thumb c''-\segno c''-\coda
1111 \context Lyrics \lyrics {
1112 accent__ marcato__ staccatissimo__ fermata
1113 stopped__ staccato__ tenuto__ upbow
1114 downbow__ lheel__ rheel__ ltoe
1115 rtoe__ turn__ open__ flageolet
1116 reverseturn__ trill__ prall__ mordent
1117 prallprall__ prallmordent__ uprall__ downprall
1118 thumb__ segno__ coda
1122 linewidth = 5.875\in;
1128 To save typing work, some shorthands are available:
1129 @lilypond[singleline]
1131 \notes \context Voice {
1132 \property Voice.TextScript \set #'font-family = #'typewriter
1133 \property Voice.TextScript \set #'font-shape = #'upright
1139 c''4-^_"c-\\^{ }" s4
1146 Fingering instructions can also be entered in this shorthand.
1147 @lilypond[verbatim, singleline, fragment]
1148 c'4-1 c'4-2 c'4-3 c'4-4
1152 @cindex @code{\script}
1161 Defines a script printing request. The argument is a string which
1162 points into the script-alias table defined in @file{scm/script.scm}.
1163 Usually the @code{\script} keyword is not used directly. Various
1164 helpful identifier definitions appear in @file{script.ly}.
1166 For information on how to add scripts, consult @file{scm/script.scm}.
1171 All of these note ornaments appear in the printed output but have no
1172 effect on the MIDI rendering of the music.
1174 Unfortunately, there is no support adding fingering instructions or
1175 ornaments to individual note heads. Some hacks exist, though. See
1176 @file{input/test/script-horizontal.ly}.
1181 @subsection Text scripts
1182 @cindex Text scripts
1184 In addition, it is possible to place arbitrary strings of text or markup
1185 text (see @ref{Text markup}) above or below notes by using a string:
1186 @code{c^"text"}. The text is typeset in italic by default.
1188 The amount of space taken by these indications by default does not
1189 influence, spacing, but setting @code{Voice.textNonEmpty} to true will
1190 take the widths into account. The identifier @code{\fattext} is defined
1191 in the standard includes.
1192 @lilypond[fragment,singleline,verbatim]
1193 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1196 Text scripts are created in form of @code{Voice.TextScript} grobs.
1198 For purposes of defining identifiers, a more verbose form also exists:
1201 \textscript @var{text}
1204 Defines a text to be printed over or under a note. @var{text} is a
1205 string or a markup text.
1209 foo = \textscript #'(finger "6")
1216 This is equivalent to @code{c4-6 c4-"foo"}.
1221 @subsection Grace notes
1230 @cindex @code{\grace}
1233 @cindex @code{graceAlignPosition}
1235 Grace notes are ornaments that are written out, but do not take up any
1236 logical time in a measure. LilyPond has limited support for grace notes.
1237 The syntax is as follows.
1239 \grace @var{musicexpr}
1242 When grace music is interpreted, a score-within-a-score is set up:
1243 @var{musicexpr} has its own time bookkeeping, and you could (for
1244 example) have a separate time signature within grace notes. While in
1245 this score-within-a-score, you can create notes, beams, slurs, etc.
1246 Unbeamed eighth notes and shorter by default have a slash through the
1247 stem. This behavior can be controlled with the
1248 @code{Stem}.@code{flag-style} property.
1250 @lilypond[fragment,verbatim]
1252 \grace c8 c4 \grace { [c16 c16] } c4
1253 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1258 At present, nesting @code{\grace} notes is not supported. The following
1259 may cause run-time errors:
1261 @code{\grace @{ \grace c32 c16 @} c4}
1263 Since the meaning of such a construct is unclear, we don't consider this
1264 a loss. Similarly, juxtaposing two @code{\grace} sections is
1265 syntactically valid, but makes no sense and may cause runtime errors.
1266 Ending a staff or score with grace notes may also generate a run-time
1267 error, since there will be no main note to attach the grace notes to.
1270 A grace note expression has duration 0; the next real note is assumed to
1271 be the main note. If you want the note to appear after the main note,
1272 set @code{Voice.graceAlignPosition} to @code{1}.
1276 The present implementation of grace notes is not robust and generally
1277 kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
1278 also be implemented.
1291 @subsection Glissando
1294 @cindex @code{\glissando}
1296 A glissando line can be requested by attaching a @code{\glissando} to a
1299 @lilypond[fragment,relative,verbatim]
1305 Printing of an additional text (such as @emph{gliss.}) must be done
1312 @subsection Dynamics
1325 @cindex @code{\ffff}
1335 Absolute dynamic marks are specified by using an identifier after a
1336 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1337 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1338 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1339 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1341 @lilypond[verbatim,singleline,fragment,relative]
1342 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1346 @cindex Crescendo and Decrescendo
1350 @cindex @code{\decr}
1351 @cindex @code{\rced}
1357 A crescendo mark is started with @code{\cr} and terminated with
1358 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1359 started with @code{\decr} and terminated with @code{\rced}. There are
1360 also shorthands for these marks. A crescendo can be started with
1361 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1362 can be terminated with @code{\!}. Note that @code{\!} must go before
1363 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1364 after the last note. Because these marks are bound to notes, if you
1365 want to get several marks during one note, you must use spacer notes.
1367 @lilypond[fragment,verbatim,center]
1368 c'' \< \! c'' d'' \decr e'' \rced
1369 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1372 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1373 is an example how to do it:
1375 @lilypond[fragment,relative,verbatim]
1377 \property Voice.crescendoText = "cresc."
1378 \property Voice.crescendoSpanner = #'dashed-line
1386 When using spacer notes to subdivide note dynamics and @code{linewidth =
1387 -1}, starting a hairpin on the first spacer note (the one coinciding
1388 with the real note) exposes an embarassing bug.
1398 @cindex @code{\repeat}
1400 To specify repeats, use the @code{\repeat} keyword. Since repeats
1401 should work differently when played or printed, there are a few
1402 different variants of repeats.
1406 Repeated music is fully written (played) out. Useful for MIDI
1410 This is the normal notation: Repeats are not written out, but
1411 alternative endings (voltas) are printed, left to right.
1414 Alternative endings are written stacked. Which is unfortunately not
1415 practical for anything right now.
1421 Make measure repeats. These look like percent signs.
1427 * Manual repeat commands::
1429 * Tremolo subdivision::
1434 @subsection Repeat syntax
1436 The syntax for repeats is
1439 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1442 If you have alternative endings, you may add
1443 @cindex @code{\alternative}
1445 \alternative @code{@{} @var{alternative1}
1447 @var{alternative3} @dots{} @code{@}}
1449 where each @var{alternative} is a music expression.
1451 Normal notation repeats are used like this:
1452 @lilypond[fragment,verbatim]
1454 \repeat volta 2 { c'4 d' e' f' }
1455 \repeat volta 2 { f' e' d' c' }
1458 With alternative endings:
1459 @lilypond[fragment,verbatim]
1461 \repeat volta 2 {c'4 d' e' f'}
1462 \alternative { {d'2 d'} {f' f} }
1465 Folded repeats look like this:@footnote{Folded repeats offer little
1466 more over simultaneous music. However, it is to be expected that
1467 more functionality -- especially for the MIDI backend -- will be
1468 implemented at some point in the future.}
1470 @lilypond[fragment,verbatim]
1472 \repeat fold 2 {c'4 d' e' f'}
1473 \alternative { {d'2 d'} {f' f} }
1477 If you don't give enough alternatives for all of the repeats, then
1478 the first alternative is assumed to be repeated often enough to equal
1479 the specified number of repeats.
1481 @lilypond[fragment,verbatim]
1485 \repeat volta 3 { e | c2 d2 | e2 f2 | }
1486 \alternative { { g4 g g } { a | a a a a | b2. } }
1493 As you can see, LilyPond doesn't remember the timing information, nor
1494 are slurs or ties repeated, so you have to reset timing information
1495 after a repeat, e.g. using a bar-check (See @ref{Bar check}),
1496 @code{Score.measurePosition} or @code{\partial}. We hope to fix this
1499 It is possible to nest @code{\repeat}, although it probably is only
1500 meaningful for unfolded repeats.
1502 @node Manual repeat commands
1503 @subsection Manual repeat commands
1505 @cindex @code{repeatCommands}
1507 The property @code{repeatCommands} can be used to control the layout of
1508 repeats. Its value is a Scheme list of repeat commands, where each repeat
1516 @item (volta . @var{text})
1517 Print a volta bracket saying @var{text}.
1519 Stop a running volta bracket
1522 @lilypond[verbatim, fragment]
1524 \property Score.repeatCommands = #'((volta "93") end-repeat)
1526 \property Score.repeatCommands = #'((volta #f))
1531 @node Tremolo repeats
1532 @subsection Tremolo repeats
1533 @cindex tremolo beams
1535 To place tremolo marks between notes, use @code{\repeat} with tremolo
1537 @lilypond[verbatim,center,singleline]
1539 \context Voice \notes\relative c' {
1540 \repeat "tremolo" 8 { c16 d16 }
1541 \repeat "tremolo" 4 { c16 d16 }
1542 \repeat "tremolo" 2 { c16 d16 }
1543 \repeat "tremolo" 4 c16
1551 At present, the spacing between tremolo beams is not regular, since the
1552 spacing engine does not notice that not all notes are printed.
1554 @node Tremolo subdivision
1555 @subsection Tremolo subdivision
1556 @cindex tremolo marks
1557 @cindex @code{tremoloFlags}
1559 Tremolo marks can be printed on a single note by adding
1560 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1561 A @var{length} value of 8 gives one line across the note stem. If the
1562 length is omitted, then then the last value (stored in
1563 @code{Voice.tremoloFlags}) is used.
1565 @lilypond[verbatim,fragment,center]
1568 Using this mechanism pays off when you entering many tremolos, since the
1569 default argument saves a lot of typing.
1574 Tremolos in this style do not carry over into the MIDI output.
1577 @node Measure repeats
1578 @subsection Measure repeats
1580 @cindex percent repeats
1581 @cindex measure repeats
1583 In the @code{percent} style, a note pattern can be repeated. It is
1584 printed once, and then the pattern is replaced with a special sign.
1586 @lilypond[verbatim,singleline]
1587 \context Voice { \repeat "percent" 4 { c'4 }
1588 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1594 You can not nest percent repeats, filling in the first measure with
1595 slashes, and repeating that measure with percents.
1597 @node Rhythmic music
1598 @section Rhythmic music
1605 @node Rhythmic staffs
1606 @subsection Rhythmic staffs
1608 Some times you might want to show only the rhythm of a melody. This can
1609 be done with the rhythmic staff. All pitches of notes on such a staff
1610 are squashed, and the staff itself looks has a single staff line:
1612 @lilypond[fragment,relative ]
1613 \context RhythmicStaff {
1615 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1622 @section Piano music
1624 Piano music is an odd type of notation: two staffs are largely
1625 independent, but sometimes voices can cross between the two staffs. The
1626 @code{PianoStaff} is especially built to handle this cross-staffing
1627 behavior. In this section we discuss the @code{PianoStaff} and some
1628 other pianistic peculiarities.
1631 * Automatic staff changes::
1632 * Manual staff switches::
1639 @c . {Automatic staff changes}
1640 @node Automatic staff changes
1641 @subsection Automatic staff changes
1642 @cindex Automatic staff changes
1644 Voices can be switched from top to bottom staff automatically. The
1647 \autochange @var{contexttype} @var{musicexp}
1649 This will switch notation context of @var{musicexp} between a
1650 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1651 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1652 of pitch (central C is the turning point), and it looks ahead skipping
1653 over rests to switch rests in advance.
1655 @lilypond[verbatim,singleline]
1656 \score { \notes \context PianoStaff <
1657 \context Staff = "up" {
1658 \autochange Staff \context Voice = VA < \relative c' {
1659 g4 a b c d r4 a g } > }
1660 \context Staff = "down" {
1666 Note how spacer rests are used to prevent the bottom staff from
1667 terminating too soon.
1670 @node Manual staff switches
1671 @subsection Manual staff switches
1673 @cindex manual staff switches
1674 @cindex staff switch, manual
1676 Voices can be switched between staffs manually, using the following command:
1678 \translator Staff = @var{which} @var{music}
1680 The string @var{which} is the name of the staff. Typically it is
1681 @code{"up"} or @code{"down"}.
1683 Formally, this construct is a music expression indicating that the
1684 context which is a direct child of the a context of type
1685 @var{contexttype} should be shifted to a context of type
1686 @var{contexttype} and the specified name.
1688 @cindex @code{\translator}
1690 \translator @var{contexttype} = @var{name}
1699 Piano pedal instruction can be expressed using
1700 @code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
1701 @code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1703 These identifiers are shorthands for spanner commands of the types
1704 @code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
1706 @lilypond[fragment,verbatim]
1707 c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
1710 The symbols that are printed can be modified by setting
1711 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1712 types. Refer to the generated documentation for more information.
1717 Currently, brackets are not supported, only text markings (ie. *Ped
1723 @subsection Arpeggio
1726 @cindex broken arpeggio
1727 @cindex @code{\arpeggio}
1729 You can specify an arpeggio sign on a chord by attaching an
1730 @code{\arpeggio} to a note of the chord.
1733 @lilypond[fragment,relative,verbatim]
1734 \context Voice <c'\arpeggio e g c>
1737 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1738 to the chords in both staffs, and set
1739 @code{PianoStaff.connectArpeggios}.
1741 @lilypond[fragment,relative,verbatim]
1742 \context PianoStaff <
1743 \property PianoStaff.connectArpeggios = ##t
1744 \context Voice = one { <c''\arpeggio e g c> }
1745 \context Voice = other { \clef bass; <c,,\arpeggio e g>}
1749 This command creates @code{Arpeggio} grobs.
1753 It is not possible to mix
1754 connected arpeggios and unconnected arpeggios at the same time.
1757 @c . {VoiceFollower}
1759 @subsection VoiceFollower
1761 @cindex follow voice
1762 @cindex staff switching
1765 @cindex @code{followVoice}
1767 Whenever a voice switches to another staff a line connecting the notes
1768 can be printed automatically. This is enabled if the property
1769 @code{PianoStaff.followVoice} is set to true:
1771 @lilypond[fragment,relative,verbatim]
1772 \context PianoStaff <
1773 \property PianoStaff.followVoice = ##t
1774 \context Staff \context Voice {
1776 \translator Staff=two
1779 \context Staff=two {\clef bass; \skip 1*2;}
1792 * Automatic syllable durations::
1798 @subsection Lyrics mode
1801 To print lyrics in LilyPond, you must first make a music expression from
1802 the lyric text. When they're in a music expression, that music
1803 expression can be printed by selecting an appropriate context. We shall
1804 discuss lyric printing in this order.
1808 @cindex @code{\lyrics}
1810 You can enter lyrics in a special input mode of LilyPond. This mode is
1811 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1812 The purpose of this mode is that you can enter lyrics as plain text,
1813 punctuation and accents without any hassle.
1815 The precise definition of this mode is in @ref{Lyrics mode
1816 definition}. The definition itself is ludicrous, and this will remain so
1817 until the authors of LilyPond acquire a deeper understanding of
1818 character encoding, or someone else steps up to fix this.
1820 Syllables are entered like notes, with pitches replaced by text. For
1821 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1822 the hyphen has no special meaning for lyrics, and does not introduce
1825 Spaces can be introduced into a lyric either by using quotes
1826 (@code{"}) or by using an underscore without quotes: @code{He_could4
1827 not4}. All unquoted underscores are converted to spaces.
1829 @c . {Printing lyrics}
1830 @node Printing lyrics
1831 @subsection Printing lyrics
1834 Normally, you will want to have notes and syllables matched
1835 automatically. This is accomplished using @code{\addlyrics}, which is
1836 documented in @ref{Automatic syllable durations}. Setting
1837 @code{automaticMelismata} in the melody staff, will cause slurs to be
1838 interpreted as melismata. Lyric syllables must be interpreted within a
1839 @code{Lyrics} context in order to printing them.
1841 @lilypond[verbatim,singleline]
1842 \addlyrics \notes \relative c' {
1844 \property Staff.automaticMelismata = ##t
1847 \context Lyrics \lyrics {
1849 share the so -- ftware; }
1853 @cindex lyric extender
1856 As you can see, extender lines are entered as @code{__}. This will
1857 create an extender, a line that extends over the entire duration of the
1858 lyric. This line will run all the way to the start of the next lyric,
1859 so you may want to shorten it by using a blank lyric (using @code{_}).
1863 If you want to have hyphens centered between syllables (rather than
1864 attached to the end of the first syllable) you can use the special
1865 `@code{-}@code{-}' lyric as a separate word between syllables. This
1866 will result in a hyphen which length varies depending on the space
1867 between syllables, and which will be centered between the syllables.
1869 @cindex Lyric hyphen
1871 @node Automatic syllable durations
1872 @subsection Automatic syllable durations
1873 @cindex Automatic syllable durations
1875 @cindex automatic lyric durations
1876 @cindex @code{\addlyrics}
1878 If you have lyrics that are set to a melody, you can import the rhythm
1879 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1882 \addlyrics @var{musicexpr1 musicexpr2}
1885 This means that both @var{musicexpr1} and @var{musicexpr2} are
1886 interpreted, but that every non-command atomic music expression
1887 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1888 of @var{musicexpr1}.
1889 @cindex @code{automaticMelismata}
1891 If the property @code{automaticMelismata} is set in the
1892 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1895 @lilypond[verbatim,fragment]
1898 \property Voice.automaticMelismata = ##t
1899 c8 () cis d8. e16 f2
1901 \context Lyrics \lyrics {
1905 If you want the lyric lines to be above the melody staff, or in some
1906 other, more complex configuration, then build that configuration first
1907 using simultaneous music, and use @code{\addlyrics} after that.
1909 @lilypond[verbatim, singleline]
1911 \context Lyrics = LA { s1 }
1912 \context Staff = SA { s1 }
1914 \context Staff = SA \relative c' { c4 e g g }
1915 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1918 For @code{\addlyrics} you should use a single rhythm melody, and single
1919 rhythm lyrics (a constant duration is the obvious choice). If you do
1920 not, you can get undesired effects when using multiple stanzas:
1922 @lilypond[verbatim,fragment]
1925 c8 () cis d8. e16 f2
1927 \context Lyrics \lyrics
1932 It is valid (but probably not very useful) to use notes instead of
1933 lyrics for @var{musicexpr2}.
1936 @subsection More stanzas
1940 If you have multiple stanzas printed underneath each other, the separate
1941 syllables should be aligned around punctuation. LilyPond can do this if
1942 you explain it which lyric lines belong to which melody.
1944 To this end, give the Voice context an identity, and set the LyricsVoice
1945 to name starting with that identity. In the following example, the Voice
1946 identity is @code{duet}, and the identities of the LyricsVoices are
1947 @code{duet-1} and @code{duet-2}.
1950 @lilypond[singleline,verbatim]
1953 \notes \relative c'' \context Voice = duet { \time 3/4;
1955 \lyrics \context Lyrics <
1956 \context LyricsVoice = "duet-1" {
1957 \property LyricsVoice . stanza = "Bert"
1958 Hi, my name is bert. }
1959 \context LyricsVoice = "duet-2" {
1960 \property LyricsVoice . stanza = "Ernie"
1961 Ooooo, ch\'e -- ri, je t'aime. }
1966 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
1967 first system) and @code{LyricsVoice.stz} for the following systems.
1969 @cindex stanza numbering
1977 LilyPond has support for both entering and printing chords. Chords are
1978 a harmonic device that is characterized by a set of pitches. It is
1979 something different from simultaneous music, although you can express a
1980 chord using simultaneous music. In fact, chords are internally stored as
1981 simultaneous music expressions. This means you can enter chords by name,
1982 and print them as note head, or enter as notes and print as chord names:
1985 @lilypond[verbatim,singleline]
1986 twoWays = \notes \transpose c'' {
1996 < \context ChordNames \twoWays
1997 \context Staff \twoWays > }
2000 Note that this example also shows that the LilyPond chord does not
2001 attempt to be intelligent, if you enter @code{f bes d}, it does no
2002 attempt to find out whether it this is an inversion.
2006 * Printing named chords::
2011 @subsection Chords mode
2014 Chord mode is a mode where you can input sets of pitches using common
2015 names. It is introduced by the keyword @code{\chords}. It is similar
2016 to note mode, but words are also looked up in a chord modifier table
2017 (containing @code{maj}, @code{dim}, etc).
2019 Dashes and carets are used to indicate chord additions and subtractions,
2020 so articulation scripts can not be entered in Chord mode.
2022 The syntax for named chords is as follows:
2025 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2028 @var{tonic} should be the tonic note of the chord, and @var{duration}
2029 is the chord duration in the usual notation. There are two kinds of
2030 modifiers. One type is @emph{chord additions}, which are obtained by
2031 listing intervals separated by dots. An interval is written by its
2032 number with an optional @code{+} or @code{-} to indicate raising or
2033 lowering by half a step. Chord additions has two effects: It adds
2034 the specified interval and all lower odd numbered intervals to the
2035 chord, and it may lower or raise the specified interval. Intervals
2036 must be separated by a dot (@code{.}).
2038 Throughout these examples, chords have been shifted around the staff
2039 using @code{\transpose}.
2041 @lilypond[fragment,verbatim]
2045 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
2055 The second type of modifier that may appear after the @code{:} is a
2056 named modifier. Named modifiers are listed in the file
2057 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2058 @code{min} which lower the 3rd half a step, `@code{aug}' which
2059 raises the 5th, `@code{dim}' which lowers the 5th,
2060 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2061 which replaces the 5th with a 4th.
2063 @lilypond[fragment,verbatim]
2066 c1:m c:min7 c:maj c:aug c:dim c:sus
2072 Chord subtractions are used to eliminate notes from a chord. The
2073 notes to be subtracted are listed after a @code{^} character,
2076 @lilypond[fragment,verbatim,center]
2085 Chord inversions can be specified by appending `@code{/}' and the name
2086 of a single note to a chord. In a chord inversion, the inverted note is
2087 transposed down until it is the lowest note in the chord. If the
2088 specified note is not in the chord, a warning will be printed.
2090 @lilypond[fragment,verbatim,center]
2100 Bass notes can be added by `@code{/+}' and
2101 the name of a single note to a chord. This has the effect of
2102 adding the specified note to the chord, lowered by an octave,
2103 so it becomes the lowest note in the chord.
2105 @lilypond[fragment,verbatim,center]
2117 @c . {Printing named chords}
2118 @node Printing named chords
2119 @subsection Printing named chords
2121 @cindex printing chord names
2124 @cindex @code{ChordNames}
2127 For displaying printed chord names, use the @code{ChordNames} context.
2128 The chords may be entered either using the notation described above, or
2129 directly using simultaneous music.
2131 @lilypond[verbatim,singleline]
2133 \chords {a1 b c} <d f g> <e g b>
2137 \context ChordNames \scheme
2138 \context Staff \transpose c'' \scheme
2143 You can make the chord changes stand out by setting property
2144 @code{ChordNames.chordChanges} to true. This will only display chord
2145 names when there's a change in the chords scheme and at the start of the
2150 c1:m \break c:m c:m c:m d
2155 \context ChordNames {
2156 \property ChordNames.chordChanges = ##t
2158 \context Staff \transpose c'' \scheme
2162 LilyPond examines chords specified as lists of notes to determine a name
2163 to give the chord. LilyPond will not try to identify chord inversions or
2164 added base, which may result in strange chord names when chords are
2165 entered as a list of pitches:
2169 @lilypond[verbatim,center,singleline]
2178 \context ChordNames \scheme
2179 \context Staff \scheme
2185 By default LilyPond uses chord name system proposed by Harald Banter
2186 (See @ref{Literature}). The system is is unambiguous and has a logical
2187 structure. Typical American style chord names may be selected by
2188 setting the @code{style} property of the @code{ChordNames.ChordName}
2189 grob to @code{'american}. Similarly @code{'jazz} selects Jazz
2192 Routines that determine the names to be printed are written in Scheme,
2193 and may be customized by the user. The code can be found in
2194 @file{scm/chord-name.scm}.
2196 [3 short examples showing differences between american, banter and jazz]
2199 @section Writing parts
2201 Orchestral music involves some special notation, both in the full score,
2202 as in the individual parts. This section explains how to tackle common
2203 problems in orchestral music.
2210 * Instrument names::
2212 * Sound output for transposing instruments::
2213 * Multi measure rests::
2214 * Automatic part combining::
2215 * Hara-kiri staffs::
2218 @c . {Rehearsal marks}
2219 @node Rehearsal marks
2220 @subsection Rehearsal marks
2221 @cindex Rehearsal marks
2223 @cindex @code{\mark}
2224 @cindex @code{Mark_engraver}
2227 \mark @var{unsigned};
2232 With this command, you can print a rehearsal mark above the system. You
2233 can provide a number, a string or a markup text as argument. If there is
2234 no argument, the property @code{rehearsalMark} is used and automatically
2237 @lilypond[fragment,verbatim]
2243 c1 \mark #'(music "scripts-segno") ;
2249 @subsection Bar numbers
2251 Bar numbers are printed at the start of the line by default. This is
2252 done by the @code{Bar_number_engraver} in the Score context.
2256 It is currently not possible to make boxed bar numbers, or print them at
2260 @node Instrument names
2261 @subsection Instrument names
2263 You can specify an instrument name for a staff by setting
2264 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2265 before the start of the staff. For the first start, @code{instrument} is
2266 used, for the next ones @code{instr} is used.
2268 @lilypond[verbatim,singleline]
2270 \property Staff.instrument = "ploink " { c''4 } }
2272 \translator { \StaffContext
2273 \consists "Instrument_name_engraver"; } } }
2276 This requires that you add the @code{Instrument_name_engraver} to the
2281 @subsection Transpose
2283 @cindex transposition of pitches
2284 @cindex @code{\transpose}
2286 A music expression can be transposed with @code{\transpose}. The syntax
2289 \transpose @var{pitch} @var{musicexpr}
2292 This means that middle C in @var{musicexpr} is transposed to
2295 @code{\transpose} distinguishes between enharmonic pitches: both
2296 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2297 a tone. The first version will print sharps and the second version
2300 @lilypond[fragment,verbatim]
2303 { \key e \major; c d e f }
2305 \transpose des'' { \key e \major; c d e f }
2306 \transpose cis'' { \key e \major; c d e f }
2310 If you want to use both @code{\transpose} and @code{\relative}, then
2311 you must use @code{\transpose} first. @code{\relative} will have no
2312 effect music that appears inside a @code{\transpose}.
2314 @node Sound output for transposing instruments
2315 @subsection Sound output transposing instruments
2317 When you want to play a score containing transposed and untransposed
2318 instruments, you have to instruct LilyPond the pitch offset (in
2319 semitones) for the transposed instruments. This is done using the
2320 @code{transposing} property. It does not affect printed output.
2322 @cindex @code{transposing}
2325 \property Staff.instrument = #"Cl. in B-flat"
2326 \property Staff.transposing = #-2
2330 @c . {Multi measure rests}
2331 @node Multi measure rests
2332 @subsection Multi measure rests
2333 @cindex Multi measure rests
2337 Multi measure rests are entered using `@code{R}'. It is specifically
2338 meant for entering parts: the rest can expand to fill a score with
2339 rests, or it can be printed as a single multimeasure rest This expansion
2340 is controlled by the property @code{Score.skipBars}. If this is set to true,
2341 Lily will not expand empty measures, and the appropriate number is added
2344 @lilypond[fragment,verbatim]
2345 \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2348 Currently, there is no way to condense multiple rests into a single
2351 @cindex condensing rests
2353 @node Automatic part combining
2354 @subsection Automatic part combining
2355 @cindex automatic part combining
2356 @cindex part combiner
2358 Automatic part combining is used to merge two parts of music onto on
2359 staff in an intelligent way. It is aimed primarily at typesetting Hymns
2360 and orchestral scores. When the two parts are identical for a period of
2361 time, only one is shown. In places where the two parts differ, stem
2362 directions are set automatically. Also, soli and @emph{a due} parts can be
2363 identified and marke.
2365 The syntax for part combining is
2368 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2371 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2372 combined into one context @var{context}. The names of the music
2373 expressions must start with the prefixes @code{one} and @code{two}.
2375 [Name of music expressions? is that context name? ]
2377 The most useful function of the part combiner to combining threads into
2378 one voice, as common for wind parts in orchestral scores:
2380 @lilypond[verbatim,singleline,fragment]
2382 \context Voice=one \partcombine Voice
2383 \context Thread=one \relative c'' {
2386 \context Thread=two \relative c'' {
2392 Notice that the first @code{g} appears only once, although it was
2393 specified twice (once in each Thread). Also note that stem, slur and tie
2394 directions are set automatically, depending whether there is a solo or
2395 unisono. The Thread called @code{one} always gets up stems, and "solo",
2396 while @code{two} always gets down stems and "Solo II".
2398 If you just want the splitting of Threads and setting of directions, and
2399 not the textual markings, you may set the property @var{soloADue} to
2400 false. This mode can be used to set hymns:
2402 @lilypond[verbatim,singleline,fragment]
2404 \property Staff.soloADue = ##f
2405 \context Voice=one \partcombine Voice
2406 \context Thread=one \relative c'' {
2409 \context Thread=two \relative c'' {
2415 There are a number of other properties that you can use to tweak
2416 the behavior of part combining, refer to the automatically generated
2417 documentation. Look for @code{Thread_devnull_engraver}
2418 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2422 In @code{soloADue} mode, when the two voices play the same notes on and
2423 off, the part combiner may typeset @code{a2} more than once in a
2426 @lilypond[fragment,singleline]
2428 \context Voice=one \partcombine Voice
2429 \context Thread=one \relative c'' {
2432 \context Thread=two \relative c'' {
2438 @cindex @code{Thread_devnull_engraver}
2439 @cindex @code{Voice_engraver}
2440 @cindex @code{A2_engraver}
2442 @node Hara-kiri staffs
2443 @subsection Hara-kiri staffs
2445 In orchestral scores, staffs that only have rests are usually removed.
2446 This saves some space. LilyPond also supports this through the
2447 hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
2448 of the Japanese Samourai warriors.} staff. This staff commits suicide
2449 when it finds itself to be empty after the line-breaking process---note
2450 that it will not disappear when it contains normal rests, you must use
2451 multi measure rests.
2453 The hara kiri staff is specialized version of the Staff context. It is
2454 available as the context identifier @code{\HaraKiriStaffContext}.
2455 Observe how the second staff in this example disappears in the second
2460 \notes \relative c' <
2461 \context Staff = SA { e4 f g a \break c1 }
2462 \context Staff = SB { c4 d e f \break R1 }
2466 \translator { \HaraKiriStaffContext }
2479 A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
2480 staff context symbol that appears at the end of a staff line. It
2481 anticipates the pitch of the first note(s) of the following line and
2482 thus helps the player or singer to manage line breaks during
2483 performance, thus enhancing readability of a score.
2487 \notes { c'1 d' e' d' \break c' d' e' d' }
2491 \consists Custos_engraver;
2492 Custos \override #'style = #'mensural;
2498 Custodes were frequently used in music notation until the 16th century.
2499 There were different appearences for different notation styles.
2500 Nowadays, they have survived only in special forms of musical notation
2501 such as via the @emph{editio vaticana} dating back to the beginning of
2504 For typesetting custodes, just put a @code{Custos_engraver} into the
2505 @code{StaffContext} when declaring the @code{\paper} block. In this
2506 block, you can also globally control the appearance of the custos symbol
2507 by setting the custos @code{style} property. Currently supported styles
2508 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2515 \consists Custos_engraver;
2516 Custos \override #'style = #'mensural;
2521 The property can also be set locally, for example in a @code{\notes}
2526 \property Staff.Custos \override #'style = #'vaticana
2527 c'1 d' e' d' \break c' d' e' d'
2531 @c . {Tuning output}
2533 @section Tuning output
2535 LilyPond tries to take as much formatting as possible out of your
2536 hands. Nevertheless, there are situations where it needs some help, or
2537 where you want to override its decisions. In this section we discuss
2538 ways to do just that.
2540 Notation output is specified in so called grobs (graphic objects). Each
2541 grob carries with it a set of properties (grob properties) specific to
2542 that object. For example, a stem grob has properties that specify its
2543 direction, length and thickness.
2546 The most common way of tuning the output is to alter the values of these
2547 properties. There are two ways of doing that: first, you can temporarily
2548 change the definition of a certain type of grob, thus affecting a whole
2549 set of objects. Second, you can select one specific object, and set a
2553 * Tuning groups of grobs ::
2554 * Tuning per grob ::
2560 @node Tuning groups of grobs
2561 @subsection Tuning groups of grobs
2563 @cindex grob description
2565 A grob definition is a Scheme association list, that is stored in a context
2566 property. By assigning to that property (using plain @code{\property}),
2567 you can change the resulting grobs.
2569 @lilypond[verbatim, fragment]
2570 c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
2573 The @code{\property} statement effectively empties the definition of the
2574 Stem object. One of the effects is that property specifying how it
2575 should be printed is erased, with the effect of rendering it invisible.
2581 This mechanism is fairly crude, since you can only set, but not modify,
2582 the definition of a grob. For this reason, there is a more advanced
2583 mechanism: you can add a property on top of an existing definition, or
2584 remove a property: @code{\override} adds a settings, @code{\revert}
2585 removes that setting.
2588 c'4 \property Voice.Stem \override #'thickness = #4.0
2589 c'4 \property Voice.Stem \revert #'thickness
2593 For the digirati, the grob description is an Scheme association
2594 list. Since it is singly linked, we can treat it as a stack, and
2595 @code{\override} and @code{\revert} are just push and pop
2596 operations. This pushing and popping is also used for overriding automatic
2599 If you revert a setting which was not set in the first place, then it
2600 has no effect. However, if the setting was set as a system default, it
2601 may remove the default value, and this may give surprising results,
2602 including crashes. In other words, if you use @code{\override} and
2603 @code{\revert}, be sure to balance the overrides and reverts.
2605 If balancing them is too much work, use the @code{\set} shorthand. It
2606 performs a revert followed by an override:
2608 \property Voice.Stem \set #'thickness = #2.0
2611 Formally the syntax for these constructions is
2613 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2614 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2615 \property @var{context}.@var{grobname} \revert @var{symbol}
2617 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2618 and @var{grobname} are strings and @var{value} is a Scheme expression.
2621 Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
2625 \override \set \set \set \set
2629 This is always correct, but if you know the default value, you can also use
2632 \set @var{to default value}
2635 If there is no default (i.e. by default, the grob property is unset),
2638 \set \set \set \set \set
2645 LilyPond will hang or crash if @var{value} contains cyclic references.
2646 The backend is not very strict in type-checking grob properties. If you
2647 @code{\revert} properties that are expected to be set by default,
2652 @node Tuning per grob
2653 @subsection Tuning per grob
2655 @cindex \outputproperty
2657 A second way of tuning grobs is the more arcane @code{\outputproperty}
2659 Syntax is as follows
2661 \outputproperty @var{predicate} @var{symbol} = @var{value}
2663 Here @code{predicate} is a Scheme function taking a grob argument, and
2664 returning a boolean. This statement is processed by the
2665 @code{Output_property_engraver}. It instructs the engraver to feed all
2666 grobs that it sees to @var{predicate}. Whenever the predicate returns
2667 true, the grob property @var{symbol} will be set to @var{value}.
2669 You will need to combine this statement with @code{\context} to select
2670 the appropriate context to apply this to.
2672 If possible, avoid this feature: the semantics are not very clean, and
2673 the syntax and semantics are up for rewrite.
2675 Here are some random examples:
2677 @lilypond[fragment,verbatim,singleline]
2679 \context Staff \outputproperty
2680 #(make-type-checker 'note-head-interface)
2681 #'extra-offset = #'(0.5 . 0.75)
2685 @cindex @code{extra-offset}
2687 This selects all note heads occurring at current staff level, and sets
2688 the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
2691 Move the text "m.d.", but not the fingering instruction "2".
2692 @lilypond[verbatim,singleline]
2693 #(define (make-text-checker text)
2694 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2697 \notes\relative c''' {
2698 \property Voice.Stem \set #'direction = #1
2699 \outputproperty #(make-text-checker "m.d.")
2700 #'extra-offset = #'(-3.5 . -4.5)
2710 @subsection What to tune?
2712 This all tells you how to tune grobs, but what variables are there? The
2713 question is not answered in this manual (although you may encounter
2716 Grob properties are tied directly to the implementation of LilyPond, and
2717 they are thus a moving target. Documentation of such variables are part
2718 of the generated documentation: this documentation is generated from the
2719 sourcecode of lily for each version, so it is usually mch more up to
2720 date than this manual. It should be available from the same place where
2721 you got this manual.
2723 To decide how to tune a grob, you need to find the following information
2726 which grob to modify
2728 which property to modify
2730 which context the grob comes from.
2733 Included with the automatically generated documentation is a master list
2734 of grobs. Each one can be clicked, taking you to a overview of the
2735 available properties.
2737 There is also a master list of contexts. Clicking each takes you to an
2738 overview of the context, listing which grob types are created there.
2741 @node Font selection
2742 @subsection Font selection
2744 Most graphics in LilyPond are composed of characters of fonts. You can
2745 alter the characteristics of the font by setting certain grob
2746 properties. The mechanism that is used for this resembles LaTeX's New
2747 Font Selection Scheme. Within this scheme, a font is entirely
2748 characterized by its font name.
2750 For each grob that uses fonts (in other words, each grob that supports
2751 @code{font-interface}) a font-name must be selected before it can be
2752 printed. The font name is selected by looking at a number of grob
2757 The general class of the typeface. Supported are roman (Computer
2758 Modern), braces (for piano staff braces), music (the standard music
2759 font), dynamic (font for dynamic signs) and typewriter
2762 A symbol indicating the shape of the font, a finer gradation than
2763 font-family. Choices are italic and upright
2765 Symbol indicating the serie of the font. Series form a finer gradation
2766 than font-shape. Choices are medium and bold.
2768 @item font-relative-size
2769 A number indicating the size relative the standard size. For example,
2770 with 20pt staff height, relative size -1 corresponds to 16pt staff
2771 height, and relative size +1 corresponds to 23 pt staff height.
2773 @item font-design-size
2774 A number indicating the design size of the font.
2776 This is a feature of the Computer Modern Font: each point size has a
2777 slightly different design. Smaller design sizes are relatively wider,
2778 which enhances readability. Scalable type faces such TrueType and Adobe
2779 Type1 usually come as ``one design fits all sizes''.
2782 The name of the font, without the design size, eg. @code{cmr},
2783 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2788 The font is selected by taking the first font that satisfies all
2789 qualifiers specified. You can override any of these fields through
2790 @code{\override} and @code{\revert}. The special value @code{*} matches
2791 any value for that qualifier.
2794 \property Lyrics.LyricText \override #'font-series = #'bold
2795 \property Lyrics.LyricText \override #'font-shape = #'*
2798 @cindex @code{font-style}
2800 There are also pre-cooked font selection qualifiers. These are selected
2801 through the grob property @code{font-style}. For example, the style
2802 @code{finger} selects family @code{number} and relative size @code{-3}.
2803 Styles available include: volta, finger, tuplet, timesig, mmrest,
2804 script, large, Large and dynamic.
2806 The style sheets and tables for selecting fonts are located in
2807 @file{scm/font.scm}. Refer to this file for more information.
2811 Relative size is not linked to any real size. There is no mechanism to
2812 select magnifications of fonts, meaning that you can not scale fonts
2813 continuoussly. There is no style sheet provided for other fonts besides
2816 @cindex font selection
2817 @cindex font magnification
2818 @cindex @code{font-interface}
2822 @subsection Text markup
2826 LilyPond has an internal mechanism to typeset texts. You can
2827 form text markup expressions by composing scheme expressions
2828 in the following way.
2830 @lilypond[verbatim, singleline]
2835 c^#'(italic "italic")
2836 d_#'((bold italic) "ff")
2838 f_#'(lines "one" (bold "two"))
2839 g^#'(music "noteheads-2" "flags-u3")
2843 Normally, the Scheme markup text is stored in the @code{text} property
2844 of a grob. Formally, it is defined as follows:
2847 text: string | (head? text+)
2848 head: markup | (markup+)
2849 markup-item: property | abbrev
2850 property: (@var{key} . @var{value})
2851 abbrev: @code{rows lines roman music bold italic named super sub text}
2852 @code{finger volta timesig mmrest mark script large Large dynamic}
2855 The markup is broken down and converted into a list of grob properties,
2856 which are prepended to the property list. The @var{key}-@var{value}
2857 pair is a grob property.
2859 The following abbreviations are currently defined:
2863 horizontal mode: set all text on one line (default)
2865 vertical mode: set every text on new line
2875 lookup by character name
2877 plain text lookup (by character value)
2883 select fingering number fontstyle
2885 select volta number fontstyle
2887 select time signature number fontstyle
2889 select multi measure rest number fontstyle
2891 select mark number fontstyle
2893 select scriptsize roman fontstyle
2895 select large roman fontstyle
2897 select Large roman fontstyle
2899 select dynamics fontstyle
2902 It is possible to use @TeX{} commands in the strings, but this should be
2903 avoided because this makes it impossible for LilyPond to compute the
2904 exact length of the string, which may lead to collisions. Also, @TeX{}
2905 commands won't work with direct postscript output.
2909 @section Page layout
2923 @subsection Paper block
2926 The most important output definition is the @code{\paper} block, for
2927 music notation. The syntax is
2930 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2933 where each of the items is one of
2936 @item An assignment. The assignment must be terminated by a
2939 @item A context definition. See @ref{Notation Contexts} for
2940 more information on context definitions.
2942 @item \stylesheet declaration. Its syntax is
2944 \stylesheet @var{alist}
2947 See @file{scm/font.scm} for details of @var{alist}.
2948 @item an \elementdescriptions declaration.
2950 \elementdescriptions @var{alist}
2952 See @file{scm/grob-description.scm} for details of @var{alist}.
2956 @c . {Paper variables}
2957 @node Paper variables
2958 @subsection Paper variables
2959 @cindex Paper variables
2961 The paper block has some variables you may want to use or change:
2964 @cindex @code{indent}
2966 The indentation of the first line of music.
2967 @cindex @code{staffspace}
2969 @item @code{staffspace}
2970 The distance between two staff lines, calculated from the center
2971 of the lines. If you want scale independent output, then you should
2972 use either this or @code{stafflinethickness}
2973 as a unit for distances you modify.
2975 @cindex @code{linewidth}
2976 @item @code{linewidth}
2977 Sets the width of the lines.
2979 If set to a negative value, a single unjustified line is produced.
2980 @c rename to singleLinePaper ?
2981 The shorthand @code{\singleLine} defines a default paper block that
2982 produces a single line.
2984 @cindex @code{textheight}
2986 @item @code{textheight}
2987 Sets the total height of the music on each page. Only used by
2990 @cindex @code{interscoreline}
2992 @item @code{interscoreline}
2993 Sets the spacing between systems.
2995 @cindex @code{interscorelinefill}
2999 @item @code{interscorelinefill}
3000 If set to a positive number, the distance between the score
3001 lines will stretch in order to fill the full page. In that
3002 case @code{interscoreline} specifies the minimum spacing.
3007 @cindex @code{stafflinethickness}
3009 @item @code{stafflinethickness}
3010 Determines the thickness of staff lines, and also acts as a scaling
3011 parameter for other line thicknesses.
3018 @subsection Font size
3021 The Feta font provides musical symbols at six different sizes. These
3022 fonts are 11 point, 13 point, 16 point, 20 point,
3023 23 point, and 26 point. The point size of a font is the
3024 height of the five lines in a staff when displayed in the font.
3026 Definitions for these sizes are the files @file{paperSZ.ly}, where
3027 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3028 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3029 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3030 @code{paperTwentysix} are defined respectively. The default
3031 @code{\paper} block is also set.
3033 The font definitions are generated using a Scheme function. For more
3034 details, see the file @file{font.scm}.
3040 @subsection Paper size
3045 @cindex @code{papersize}
3047 To change the paper size, you must first set the
3048 @code{papersize} variable at top level. Set it to
3049 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3050 specification, you must set the font as described above. If you want
3051 the default font, then use the 20 point font. The new paper size will
3052 not take effect if the font is not loaded and selected afterwards.
3056 \include "paper16.ly"
3060 \paper @{ \paperSixteen @}
3064 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3065 will set the paper variables @code{hsize} and @code{vsize} (used by
3076 @subsection Line break
3079 @cindex breaking lines
3081 Line breaks are normally computed automatically. They are chosen such
3082 that the resulting spacing has low variation, and looks neither cramped
3085 Occasionally you might want to override the automatic breaks; you can do
3086 this by specifying @code{\break}. This will force a line break at this
3087 point. Do remember that line breaks can only occur at places where there
3088 are barlines. If you want to have a line break where there is no
3089 barline, you can force an invisible barline by entering @code{\bar "";}.
3091 Similarly, @code{\noBreak} forbids a line break at a certain point.
3093 @cindex @code{\penalty}
3095 The @code{\break} and @code{\noBreak} commands are defined in terms of
3096 the penalty command:
3098 \penalty @var{int} @code{;}
3101 This encourages or discourages LilyPond to make a line break at this
3106 The scaling of the @code{\penalty} argument is not well-defined. The
3107 command is rather kludgy, and slated for rewriting.
3111 @subsection Page break
3114 @cindex breaking pages
3117 Page breaks are normally computed by @TeX{}, so they are not under
3118 direct control of LilyPond. However, you can insert a commands into the
3119 @file{.tex} output to instruct @TeX{} where to break pages. For more
3120 details, see the example file @file{input/test/between-systems.ly}
3131 LilyPond can produce MIDI output. The performance lacks lots of
3132 interesting effects, such as swing, articulation, slurring, tieing,
3133 etc., but it is good enough for proof-hearing the music you enter.
3135 Dynamics and tempo changes are interpreted.
3137 [TODO: mention volume control/Instrument Equaliser]
3142 It is currently not possible to use the percussion channel (generally
3143 channel 10 of a MIDI file).
3147 * MIDI instrument names::
3152 @subsection MIDI block
3156 The MIDI block is analogous to the paper block, but it is somewhat
3157 simpler. The @code{\midi} block can contain:
3161 @item a @code{\tempo} definition
3162 @item context definitions
3165 Assignments in the @code{\midi} block are not allowed.
3169 @cindex context definition
3171 Context definitions follow precisely the same syntax as within the
3172 \paper block. Translation modules for sound are called performers.
3173 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3176 @node MIDI instrument names
3177 @subsection MIDI instrument names
3179 @cindex instrument names
3180 @cindex @code{Staff.midiInstrument}
3181 @cindex @code{Staff.instrument}
3183 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3184 property or, if that property is not set, the @code{Staff.instrument}
3185 property. The instrument name should be chosen from the list in
3186 @ref{MIDI instruments}.
3190 If the selected string does not exactly match, then LilyPond uses the
3191 default piano. It is not possible to select an instrument by number.
3203 @section Music entry
3211 One of the applications of LilyPond is to enter music from existing
3212 written or printed material. When you're doing this kind of copying
3213 work, you can easily make mistakes. This section deals with tricks and
3214 features that help you enter music, and find and correct mistakes.
3218 @subsection Relative
3220 @cindex relative octave specification
3222 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3223 When you copy existing music, it is easy to accidentally put a pitch in
3224 the wrong octave and hard to find such an error. To prevent these
3225 errors, LilyPond features octave entry.
3227 @cindex @code{\relative}
3229 \relative @var{startpitch} @var{musicexpr}
3232 The octave of notes that appear in @var{musicexpr} are calculated as
3233 follows: If no octave changing marks are used, the basic interval
3234 between this and the last note is always taken to be a fourth or less.
3235 The octave changing marks @code{'} and @code{,} can then
3236 be added to raise or lower the pitch by an extra octave. Upon entering
3237 relative mode, an absolute starting pitch must be specified that will
3238 act as the predecessor of the first note of @var{musicexpr}.
3240 This distance is determined without regarding accidentals: a
3241 @code{fisis} following a @code{ceses} will be put above the
3244 Entering music that changes octave frequently is easy in relative mode.
3245 @lilypond[fragment,singleline,verbatim,center]
3251 And octave changing marks are used for intervals greater than a fourth.
3252 @lilypond[fragment,verbatim,center]
3254 c g c f, c' a, e'' }
3257 If the preceding item is a chord, the first note of the chord is used
3258 to determine the first note of the next chord. But other notes
3259 within the second chord are determined by looking at the immediately
3262 @lilypond[fragment,verbatim,center]
3269 @cindex @code{\notes}
3271 The pitch after the @code{\relative} contains a notename. To parse
3272 the pitch as a notename, you have to be in note mode, so there must
3273 be a surrounding @code{\notes} keyword (which is not
3276 The relative conversion will not affect @code{\transpose},
3277 @code{\chords} or @code{\relative} sections in its argument. If you
3278 want to use relative within transposed music, you must place an
3279 additional @code{\relative} inside the @code{\transpose}.
3284 @subsection Bar check
3288 @cindex @code{barCheckNoSynchronize}
3292 Whenever a bar check is encountered during interpretation, a warning
3293 message is issued if it doesn't fall at a measure boundary. This can
3294 help you find errors in the input. Depending on the value of
3295 @code{barCheckNoSynchronize}, the beginning of the measure will be
3296 relocated, so this can also be used to shorten measures.
3298 A bar check is entered using the bar symbol, @code{|}
3302 @c . {Point and click}
3303 @node Point and click
3304 @subsection Point and click
3306 Point and click lets you find notes in the input by clicking on them in
3307 the Xdvi window. This makes it very easy to find input that causes some
3308 error in the sheet music.
3310 To use it, you need the following software
3314 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3315 Xdvi} version 22.36 or newer.
3317 Note that most @TeX{} distributions ship with xdvik, which is a
3318 different and less well maintained program. To find out which xdvi you
3319 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3324 Add one these lines to the top of your .ly file. The first one is for
3325 line location only. The second one is more convenient, but requires
3326 patching @code{emacsclient}.
3329 #(set! point-and-click line-location)
3330 #(set! point-and-click line-column-location)
3333 In the emacs startup file (usually @file{~/.emacs}), add the following
3338 If you want emacs to jump to the exact spot (and not just the line) on a
3339 click, you must enable column positioning. To do so, you need to patch
3340 emacsclient. Apply @file{emacsclient.patch} (included with the source
3341 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3342 source code. Recompile and stick the recompiled emacsclient into a bin
3343 directory, and put @file{server.el} into a elisp directory
3344 (eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3345 init file, before invoking server-start.
3348 (setq load-path (cons "~/usr/share/emacs" load-path))
3352 Xdvi must be configured to use the emacs editor. Before starting, set
3353 the environment variable @code{XEDITOR} to
3355 emacsclient --no-wait +%c:%l %f
3357 Xdvi also must be configured to find the fonts. Refer to the
3358 xdvi documentation for more information.
3360 When viewing, control-mousebutton 1 will take you to the originating
3361 line and column. Control-mousebutton 2 will show all clickable boxes.
3365 When you convert the TeX file to PostScript using dvips, dvips
3366 will complain about not finding @code{src:X:Y} files. Those complaints are
3367 harmless, and can be ignored.
3370 @node Interpretation context
3371 @section Interpretation context
3374 * Notation Contexts::
3375 * Creating contexts::
3376 * Default contexts::
3377 * Context properties::
3378 * Changing context definitions::
3379 * Defining new contexts::
3383 @c . {Notation Contexts}
3384 @node Notation Contexts
3385 @subsection Notation Contexts
3387 @cindex notation contexts
3389 Notation contexts are objects that only exist during a run of LilyPond.
3390 During the interpretation phase of LilyPond (when it prints
3391 "interpreting music"), the music expresiion in a @code{\score} block is
3392 interpreted in time order. This is the same order that humans hear and
3395 During this interpretation, the notation context is holds the state for
3396 the current point within the music. It contains information like
3399 @item What notes are playing at this point?
3400 @item What symbols will be printed at this point?
3401 @item What is the current key signature, time signature, point within
3405 Contexts are grouped hierarchically: A @code{Voice} context is
3406 contained in a @code{Staff} context (because a staff can contain
3407 multiple voices at any point), a @code{Staff} context is contained in
3408 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
3409 these can all contain multiple staffs).
3412 Contexts associated with sheet music output are called @emph{notation
3413 contexts}, those for sound output are called performance contexts.
3416 @node Creating contexts
3417 @subsection Creating contexts
3419 @cindex @code{\context}
3420 @cindex context selection
3422 Contexts for a music expression can be selected manually, using the
3423 following music expression.
3426 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3429 This instructs lilypond to interpret @var{musicexpr} within the context
3430 of type @var{contexttype} and with name @var{contextname}. If this
3431 context does not exist, it will be created.
3433 @lilypond[verbatim,singleline]
3435 \notes \relative c'' {
3436 c4 <d4 \context Staff = "another" e4> f
3442 In this example, the @code{c} and @code{d} are printed on the
3443 default staff. For the @code{e}, a context Staff called
3444 @code{another} is specified; since that does not exist, a new
3445 context is created. Within @code{another}, a (default) Voice context
3446 is created for the @code{e4}. When all music referring to a
3447 context is finished, the context is ended as well. So after the
3448 third quarter, @code{another} is removed.
3452 @node Default contexts
3453 @subsection Default contexts
3455 Most music expressions don't need @code{\context}: they inherit the
3456 notation context from their parent. Each note is a music expression, and
3457 as you can see in the following example, only the sequential music
3458 enclosing the three notes has an explicit context.
3460 @lilypond[verbatim,singleline]
3461 \score { \notes \context Voice = goUp { c'4 d' e' } }
3464 There are some quirks that you must keep in mind when dealing with
3467 First, every top-level music is interpreted by the Score context, in other
3468 words, you may think of @code{\score} working like
3471 \context Score @var{music}
3475 Second, sequential music follows the contexts of its
3476 ``children''. Consider the following example.
3478 @lilypond[verbatim, singleline]
3479 \score { \context Score \notes { c'4 ( d' )e' } }
3482 The sequential music is interpreted by the Score context initially
3483 (notice that the @code{\context} specification is redundant), but when a
3484 note is encountered, contexts are setup to accept that note. In this
3485 case, a Thread, Voice and Staff are created. The rest of the sequential
3486 music is also interpreted with the same Thread, Voice and Staff context,
3487 putting the notes on the same staff, in the same voice.
3489 This is a convenient mechanism, but do not expect opening chords to work
3490 without @code{\context}. For every note, a separate staff is
3493 @lilypond[verbatim, singleline]
3494 \score { \notes <c'4 es'> }
3497 Of course, if the chord is preceded by a normal note in sequential
3498 music, the chord will be interpreted by the Thread of the preceding
3500 @lilypond[verbatim,singleline]
3501 \score { \notes { c'4 <c'4 es'> } }
3506 @node Context properties
3507 @subsection Context properties
3509 Notation contexts can be modified from within the @file{.ly} file. The
3510 following music expression does that job:
3512 @cindex @code{\property}
3514 \property @var{contextname}.@var{propname} = @var{value}
3517 Sets the @var{propname} property of the context @var{contextname} to the
3518 specified Scheme expression @var{value}. All @var{propname} and
3519 @var{contextname} are strings, which are typically unquoted.
3521 Properties that are set in one context are inherited by all of the
3522 contained contexts. This means that a property valid for the
3523 @code{Voice} context can be set in the @code{Score} context (for
3524 example) and thus take effect in all @code{Voice} contexts.
3526 Properties can be unset using the following expression:
3528 \property @var{contextname}.@var{propname} \unset
3531 This removes the definition of @var{propname} in @var{contextname}. If
3532 @var{propname} was not defined in @var{contextname} (but was inherited
3533 from a higher context), then this has no effect.
3538 @code{\property \unset} is not the inverse of @code{\property \set}
3543 @c . {Context definitions}
3544 @node Changing context definitions
3545 @subsection Changing context definitions
3547 @cindex context definition
3548 @cindex translator definition
3550 The most common way to define a context is by extending an existing
3551 context. You can change an existing context from the paper block, by
3552 first initializing a translator with an existing context identifier:
3556 @var{context-identifier}
3559 Then you can add engravers, remove engravers.
3560 The syntax for these operations are respectively
3562 \remove @var{engravername}
3563 \consists @var{engravername}
3567 Here @var{engravername} is a string, the name of an engraver in the
3570 @var{propname} = @var{value}
3574 @lilypond[verbatim,singleline]
3578 \translator { \StaffContext
3579 \remove Clef_engraver;
3585 You can also set properties in a translator definition. The syntax is as
3588 @var{propname} is a string and @var{value} is a Scheme
3591 @var{propname} = @var{value}
3592 @var{propname} \set @var{symbol} = @var{value}
3593 @var{propname} \override @var{symbol} = @var{value}
3594 @var{propname} \revert @var{symbol}
3598 These type of property assignments happen before interpretation starts,
3599 so a @code{\property} expression will override any predefined settings.
3602 To simplify editing translators, all standard contexts have standard
3603 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
3604 @code{VoiceContext}.
3606 @node Defining new contexts
3607 @subsection Defining new contexts
3609 If you want to build a context from scratch, you must also supply the
3610 following extra information:
3612 @item A name, specified by @code{\name @var{contextname};}.
3614 @item A cooperation module. This is specified by @code{\type
3621 \type "Engraver_group_engraver";
3622 \name "SimpleStaff";
3624 \consists "Staff_symbol_engraver";
3625 \consists "Note_head_engraver";
3626 \consistsend "Axis_group_engraver";
3630 Basic building blocks of translation are called engravers; they are
3631 special C++ classes.
3633 The argument of @code{\type} is the name for a special engraver that
3634 handles cooperation between simple engravers such as
3635 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
3636 for this engraver are the following:
3638 @cindex @code{Engraver_group_engraver}
3639 @item @code{Engraver_group_engraver}
3640 The standard cooperation engraver.
3642 @cindex @code{Score_engraver}
3644 @item @code{Score_engraver}
3645 This is cooperation module that should be in the top level context,
3646 and only the toplevel context.
3648 @cindex @code{Grace_engraver_group}
3650 @item @code{Grace_engraver_group}
3651 This is a special cooperation module (resembling
3652 @code{Score_engraver}) that is used to created an embedded
3659 @item @code{\alias} @var{alternate-name} @code{;}
3660 This specifies a different name. In the above example,
3661 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
3663 @item @code{\consistsend} @var{engravername} @code{;}
3664 Analogous to @code{\consists}, but makes sure that
3665 @var{engravername} is always added to the end of the list of
3668 Some engraver types need to be at the end of the list; this
3669 insures they are put there, and stay there, if a user adds or
3670 removes engravers. This command is usually not needed for
3673 @item @code{\accepts} @var{contextname} @code{;}
3674 Add @var{contextname} to the list of context this context can
3675 contain. The first listed context is the context to create by
3678 @item @code{\denies}. The opposite of @code{\accepts}. Added for
3679 completeness, but is never used in practice.
3682 @item @code{\name} @var{contextname} @code{;}
3683 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
3684 the name is not specified, the translator won't do anything.
3687 In the @code{\paper} block, it is also possible to define translator
3688 identifiers. Like other block identifiers, the identifier can only
3689 be used as the very first item of a translator. In order to define
3690 such an identifier outside of @code{\score}, you must do
3695 foo = \translator @{ @dots{} @}
3702 \translator @{ \foo @dots{} @}
3710 @cindex paper types, engravers, and pre-defined translators
3717 @c . {Syntactic details}
3718 @node Syntactic details
3719 @section Syntactic details
3720 @cindex Syntactic details
3722 This section describes details that were too boring to be put elsewhere.
3727 * Music expressions::
3728 * Manipulating music expressions::
3736 @subsection Top level
3739 This section describes what you may enter at top level.
3743 @subsubsection Score
3746 @cindex score definition
3748 The output is generated combining a music expression with an output
3749 definition. A score block has the following syntax:
3752 \score @{ @var{musicexpr} @var{outputdefs} @}
3755 @var{outputdefs} are zero or more output definitions. If none is
3756 supplied, the default @code{\paper} block will be added.
3760 @c . {Default output}
3761 @subsubsection Default output
3763 Default values for the @code{\paper} and @code{\midi} block are set by
3764 entering such a block at top-level.
3767 @subsubsection Header
3769 @cindex @code{\header}
3772 A header describes bibilographic information of the file's contents. It
3773 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
3774 use this information for generating titles. Key values that are used by
3775 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
3776 metre, arranger, piece and tagline.
3778 @cindex @code{ly2dvi}
3782 \header @{ @var{key1} = @var{val1};
3783 @var{key2} = @var{val2}; @dots{} @}
3786 It is customary to put the @code{\header} at the top of the file.
3788 @subsubsection Default output
3790 A @code{\midi} or @code{\paper} block at top-level sets the default
3792 paper block for all scores that lack an explicit paper block.
3796 @subsection Identifiers
3799 All of the information in a LilyPond input file, is represented as a
3800 Scheme value. In addition to normal Scheme data types (such as pair,
3801 number, boolean, etc.), LilyPond has a number of specialized data types,
3808 @item Translator_def
3812 @item Music_output_def
3813 @item Moment (rational number)
3816 LilyPond also includes some transient object types. Objects of these
3817 types are built during a LilyPond run, and do not `exist' per se within
3818 your input file. These objects are created as a result of your input
3819 file, so you can include commands in the input to manipulate them,
3820 during a lilypond run.
3823 @item Grob: short for Graphical object. See @ref{Grobs}.
3824 @item Molecule: device-independent page output object,
3825 including dimensions. Produced by some Grob functions
3827 @item Translator: object that produces audio objects or Grobs. This is
3828 not yet user accessible.
3829 @item Font_metric: object representing a font. (See @ref{Font metrics})
3834 @node Music expressions
3835 @subsection Music expressions
3837 @cindex music expressions
3839 Music in LilyPond is entered as a music expression. Notes, rests, lyric
3840 syllables are music expressions, and you can combine music expressions
3841 to form new ones, for example by enclosing a list of expressions in
3842 @code{\sequential @{ @}} or @code{< >}. In the following example, a
3843 compound expression is formed out of the quarter note @code{c} and a
3844 quarter note @code{d}:
3847 \sequential @{ c4 d4 @}
3850 @cindex Sequential music
3851 @cindex @code{\sequential}
3852 @cindex sequential music
3855 @cindex Simultaneous music
3856 @cindex @code{\simultaneous}
3858 The two basic compound music expressions are simultaneous and
3862 \sequential @code{@{} @var{musicexprlist} @code{@}}
3863 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
3865 For both, there is a shorthand:
3867 @code{@{} @var{musicexprlist} @code{@}}
3871 @code{<} @var{musicexprlist} @code{>}
3873 for simultaneous music.
3874 In principle, the way in which you nest sequential and simultaneous to
3875 produce music is not relevant. In the following example, three chords
3876 are expressed in two different ways:
3878 @lilypond[fragment,verbatim,center]
3879 \notes \context Voice {
3880 <a c'> <b d' > <c' e'>
3881 < { a b c' } { c' d' e' } >
3886 Other compound music expressions include
3889 \transpose @var{pitch} @var{expr}
3890 \apply @var{func} @var{expr}
3891 \context @var{type} = @var{id} @var{expr}
3892 \times @var{fraction} @var{expr}
3896 @c . {Manipulating music expressions}
3897 @node Manipulating music expressions
3898 @subsection Manipulating music expressions
3900 The @code{\apply} mechanism gives you access to the internal
3901 representation of music. You can write Scheme-functions that operate
3902 directly on it. The syntax is
3904 \apply #@var{func} @var{music}
3906 This means that @var{func} is applied to @var{music}. The function
3907 @var{func} should return a music expression.
3909 This example replaces the text string of a script. It also shows a dump
3910 of the music it processes, which is useful if you want to know more
3911 about how music is stored.
3913 #(define (testfunc x)
3914 (if (equal? (ly-get-mus-property x 'text) "foo")
3915 (ly-set-mus-property x 'text "bar"))
3917 (ly-set-mus-property x 'elements
3918 (map testfunc (ly-get-mus-property x 'elements)))
3923 \apply #testfunc { c4_"foo" }
3927 For more information on what is possible, see the @ref{Tricks} and the
3928 automatically generated documentation.
3931 Directly accessing internal representations is dangerous: the
3932 implementation is subject to changes, so you should avoid this feature
3937 @c . {Span requests}
3943 @subsubsection Span requests
3944 @cindex Span requests
3946 Notational constructs that start and end on different notes can be
3947 entered using span requests. The syntax is as follows:
3951 \spanrequest @var{startstop} @var{type}
3955 @cindex @code{\start}
3956 @cindex @code{\stop}
3958 This defines a spanning request. The @var{startstop} parameter is either
3959 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
3960 describes what should be started. Much of the syntactic sugar is a
3961 shorthand for @code{\spanrequest}, for example,
3963 @lilypond[fragment,verbatim,center]
3964 c'4-\spanrequest \start "slur"
3965 c'4-\spanrequest \stop "slur"
3968 Among the supported types are @code{crescendo}, @code{decrescendo},
3969 @code{beam}, @code{slur}. This is an internal command. Users are
3970 encouraged to use the shorthands which are defined in the initialization
3971 file @file{spanners.ly}.
3976 @subsection Assignments
3979 Identifiers allow objects to be assigned to names during the parse
3980 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
3981 and to refer to an identifier, you preceed its name with a backslash:
3982 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
3983 the input-types listed above. Identifier assignments can appear at top
3984 level in the LilyPond file, but also in @code{\paper} blocks.
3986 Semicolons are forbidden after top level assignments, but mandatory in
3987 other places. The rules about semicolons and assignments are very
3988 confusing, but when LilyPond input evolves more towards Scheme, we hope
3989 that this problem will grow smaller.
3991 An identifier can be created with any string for its name, but you will
3992 only be able to refer to identifiers whose names begin with a letter,
3993 being entirely alphabetical. It is impossible to refer to an identifier
3994 whose name is the same as the name of a keyword.
3996 The right hand side of an identifier assignment is parsed completely
3997 before the assignment is done, so it is allowed to redefine an
3998 identifier in terms of its old value, e.g.
4004 When an identifier is referenced, the information it points to is
4005 copied. For this reason, an identifier reference must always be the
4006 first item in a block.
4010 \paperIdent % wrong and invalid
4014 \paperIdent % correct
4019 @c . {Lexical modes}
4021 @subsection Lexical modes
4022 @cindex Lexical modes
4025 @cindex @code{\notes}
4026 @cindex @code{\chords}
4027 @cindex @code{\lyrics}
4029 To simplify entering notes, lyrics, and chords, LilyPond has three
4030 special input modes on top of the default mode: note, lyrics and chords
4031 mode. These input modes change the way that normal, unquoted words are
4032 interpreted: for example, the word @code{cis} may be interpreted as a
4033 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4036 A mode switch is entered as a compound music expressions
4038 @code{\notes} @var{musicexpr}
4039 @code{\chords} @var{musicexpr}
4040 @code{\lyrics} @var{musicexpr}.
4043 In each of these cases, these expressions do not add anything to the
4044 meaning of their arguments. They are just a way to indicate that the
4045 arguments should be parsed in indicated mode. The modes are treated in
4046 more detail in the @ref{Note entry}, @ref{Lyrics} and
4049 You may nest different input modes.
4053 @subsection Ambiguities
4058 The grammar contains a number of ambiguities. We hope to resolve them at
4062 @item The assignment
4068 can be interpreted as making a string identifier @code{\foo}
4069 containing @code{"bar"}, or a music identifier @code{\foo}
4070 containing the syllable `bar'.
4072 @item The assignment
4078 can be interpreted as making an integer identifier
4079 containing -6, or a Request identifier containing the
4080 fingering `6' (with neutral direction).
4082 @item If you do a nested repeat like
4094 then it is ambiguous to which @code{\repeat} the
4095 @code{\alternative} belongs. This is the classic if-then-else
4096 dilemma. It may be solved by using braces.
4098 @item (an as yet unidentified ambiguity :-)
4102 @c . {Lexical details}
4103 @node Lexical details
4104 @section Lexical details
4106 Even more boring details, now on lexical side of the input parser.
4117 * Version information::
4122 @subsection Comments
4125 @cindex block comment
4126 @cindex line comment
4130 A one line comment is introduced by a @code{%} character.
4131 Block comments are started by @code{%@{} and ended by @code{%@}}.
4132 They cannot be nested.
4135 @subsection Direct Scheme
4139 @cindex Scheme, in-line code
4142 LilyPond contains a Scheme interpreter (the GUILE library) for
4143 internal use. In some places Scheme expressions also form valid syntax:
4144 whereever it is allowed,
4148 evaluates the specified Scheme code. If this is used at toplevel, then
4149 the result is discarded. Example:
4151 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4154 @code{\override} expects two Scheme expressions, so there are two Scheme
4155 expressions. The first one is a symbol (@code{foobar}), the second one
4156 an integer (namely, 3).
4158 Scheme is a full-blown programming language, and a full discussion is
4159 outside the scope of this document. Interested readers are referred to
4160 the website @uref{http://www.schemers.org/} for more information on
4165 @subsection Keywords
4169 Keywords start with a backslash, followed by a number of lower case
4170 alphabetic characters. These are all the keywords.
4173 apply arpeggio autochange spanrequest commandspanrequest
4174 simultaneous sequential accepts alternative bar breathe
4175 char chordmodifiers chords clef cm consists consistsend
4176 context denies duration dynamicscript elementdescriptions
4177 font grace header in lyrics key mark pitch
4178 time times midi mm name pitchnames notes outputproperty
4179 override set revert partial paper penalty property pt
4180 relative remove repeat addlyrics partcombine score
4181 script stylesheet skip textscript tempo translator
4186 @subsection Integers
4194 Formed from an optional minus sign followed by digits. Arithmetic
4195 operations cannot be done with integers, and integers cannot be mixed
4200 @cindex real numbers
4206 Formed from an optional minus sign and a sequence of digits followed
4207 by a @emph{required} decimal point and an optional exponent such as
4208 @code{-1.2e3}. Reals can be built up using the usual operations:
4209 `@code{+}', `@code{-}', `@code{*}', and
4210 `@code{/}', with parentheses for grouping.
4218 A real constant can be followed by one of the dimension keywords:
4219 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4220 points, inches and centimeters, respectively. This converts the number
4221 a number that is the internal representation of that dimension.
4229 Begins and ends with the @code{"} character. To include a @code{"}
4230 character in a string write @code{\"}. Various other backslash
4231 sequences have special interpretations as in the C language. A string
4232 that contains no spaces can be written without the quotes. See
4233 @ref{Lexical modes} for details on unquoted strings; their
4234 interpretation varies depending on the situation. Strings can be
4235 concatenated with the @code{+} operator.
4237 The tokenizer accepts the following commands. They have no grammatical
4238 function, hence they can appear anywhere in the input.
4242 @subsection Main input
4245 @cindex @code{\maininput}
4247 The @code{\maininput} command is used in init files to signal that the
4248 user file must be read. This command cannot be used in a user file.
4250 @node File inclusion
4251 @subsection File inclusion
4252 @cindex @code{\include}
4254 \include @var{filename}
4257 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4258 unquoted string will not work here!) or a string identifier. The full
4259 filename including the @file{.ly} extension must be given,
4262 @node Version information
4263 @subsection Version information
4264 @cindex @code{\version}
4266 \version @var{string} ;
4269 Specify the version of LilyPond that a file was written for. The
4270 argument is a version string in quotes, for example @code{"1.2.0"}.
4271 This is used to detect invalid input, and to aid
4272 @code{convert-ly} a tool that automatically upgrades input files. See
4273 See @ref{convert-ly} for more information on @code{convert-ly}.
4282 @c .{Local emacs vars}
4285 @c minor-mode: font-lock
4286 @c minor-mode: outline
4287 @c outline-layout: (-1 : 0)
4288 @c outline-use-mode-specific-leader: "@c \."
4289 @c outline-primary-bullet: "{"
4290 @c outline-stylish-prefixes: nil
4291 @c outline-override-protect: t