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
18 @c .{Reference Manual}
20 @node Reference Manual
21 @chapter Reference Manual
23 This document describes GNU LilyPond and its input format. The last
24 revision of this document was made for LilyPond 1.3.145. It supposes a
25 passing familiarity with how LilyPond input works. New users are
26 encouraged to study the tutorial first.
49 * Skipping corrected music::
50 * Interpretation context::
60 The purpose of LilyPond is explained informally by the term `music
61 typesetter'. This is not a fully correct name: not only does the
62 program print musical symbols, it also makes aesthetic decisions.
63 Symbols and their placements are @emph{generated} from a high-level
64 musical description. In other words, LilyPond would be best described
65 by `music compiler' or `music to notation compiler'.
67 LilyPond is linked to GUILE, GNU's Scheme library for extension
68 programming. The Scheme library provides the glue that holds together
69 the low-level routines and separate modules which are written in C++.
71 When lilypond is run to typeset sheet music, the following happens:
73 @item GUILE Initialization: various scheme files are read
74 @item parsing: first standard @code{ly} initialization files are read, and
75 then the user @file{ly} file is read.
76 @item interpretation: the music in the file is processed ``in playing
77 order'', i.e. the order that you use to read sheet music, or the
78 order in which notes are played. The result of this step is a typesetting
82 The typesetting specification is solved: positions and formatting is
85 @item the visible results ("virtual ink") are written to the output file.
88 During these stages different types of data play the the main role:
89 during parsing, @strong{Music} objects are created. During the
90 interpretation, @strong{contexts} are constructed, and with these contexts
91 a network of @strong{graphical objects} (``grobs'') is created. These
92 grobs contain unknown variables, and the network forms a set of
93 equations. After solving the equations and filling in these variables,
94 the printed output (in the form of @strong{molecules}) is written to an
97 These threemanship of tasks (parsing, translating, typesetting) and
98 data-structures (music, context, graphical objects) permeates the entire
99 design of the program.
106 The most basic forms of music are notes. We discuss how you enter them
107 here. Notes on their own don't form valid input, but for the sake of
108 brevity we omit obligatory lint such as @code{\score} blocks and
109 @code{\paper} declarations.
114 * Defining pitch names::
117 * Easy Notation note heads ::
129 @cindex Note specification
131 @cindex entering notes
133 The verbose syntax for pitch specification is
135 @cindex @code{\pitch}
137 \pitch @var{scmpitch}
140 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
142 In Note and Chord mode, pitches may be designated by names. The default
143 names are the Dutch note names. The notes are specified by the letters
144 @code{a} through @code{g} (where the octave is formed by notes ranging
145 from @code{c} to @code{b}). The pitch @code{c} is an octave below
146 middle C and the letters span the octave above that C.
148 @cindex note names, Dutch
150 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
151 name. A flat is formed by adding @code{-es}. Double sharps and double
152 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
153 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
154 both forms are accepted.
156 LilyPond has predefined sets of note names for various other languages.
157 To use them, simply include the language specific init file. For
158 example: @code{\include "english.ly"}. The available language files and
159 the names they define are:
162 Note Names sharp flat
163 nederlands.ly c d e f g a bes b -is -es
164 english.ly c d e f g a bf b -s/-sharp -f/-flat
165 deutsch.ly c d e f g a b h -is -es
166 norsk.ly c d e f g a b h -iss/-is -ess/-es
167 svenska.ly c d e f g a b h -iss -ess
168 italiano.ly do re mi fa sol la sib si -d -b
169 catalan.ly do re mi fa sol la sib si -d/-s -b
177 The optional octave specification takes the form of a series of
178 single quote (`@code{'}') characters or a series of comma
179 (`@code{,}') characters. Each @code{'} raises the pitch by one
180 octave; each @code{,} lowers the pitch by an octave.
182 @lilypond[fragment,verbatim,center]
183 c' c'' es' g' as' gisis' ais'
186 @c . {Defining pitch names}
187 @node Defining pitch names
188 @subsection Defining pitch names
190 @cindex defining pitch names
191 @cindex pitch names, defining
193 Note names and chord modifiers can be customized for nationalities. The
194 syntax is as follows.
196 @cindex @code{\pitchnames}
197 @cindex @code{\chordmodifiers}
199 \pitchnames @var{scheme-alist}
200 \chordmodifiers @var{scheme-alist}
203 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
204 specific examples how to do this.
210 @subsection Durations
214 @cindex @code{\duration}
216 The syntax for a verbose duration specification is
218 \duration @var{scmduration}
220 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
221 @ref{Duration} for more information.
224 In Note, Chord, and Lyrics mode, durations may be designated by numbers
225 and dots: durations are entered as their reciprocal values. For notes
226 longer than a whole you must use identifiers.
230 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
232 r1 r2 r4 r8 r16 r32 r64 r64
238 \notes \relative c'' {
240 a1 a2 a4 a8 a16 a32 a64 a64
242 r1 r2 r4 r8 r16 r32 r64 r64
247 \remove "Clef_engraver"
248 \remove "Staff_symbol_engraver"
249 \remove "Time_signature_engraver"
250 \consists "Pitch_squash_engraver"
256 To get a longa note head, you have to use mensural note heads. This
257 is accomplished by setting the @code{style} property of the
258 NoteHead grob to @code{mensural}.
260 @lilypond[fragment,singleline,verbatim]
261 \property Voice.NoteHead \set #'style = #'mensural
265 If the duration is omitted then it is set to the previous duration
266 entered. At the start of parsing a quarter note is assumed. The
267 duration can be followed by dots (`@code{.}') to obtain dotted note
271 @lilypond[fragment,verbatim,center]
277 You can alter the length of duration by a fraction @var{N/M} by
278 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
279 will not affect the appearance of the notes or rests produced.
285 A note specification has the form
288 @var{pitch}[!][?][@var{duration}]
291 The alteration refers to what note is heard, not to whether an
292 accidental is printed. This is done depending on the key and context.
293 A reminder accidental
294 @cindex reminder accidental
296 can be forced by adding an exclamation mark @code{!} after the pitch. A
297 cautionary accidental,
298 @cindex cautionary accidental
299 i.e., an accidental within parentheses can be obtained by adding the
300 question mark `@code{?}' after the pitch.
302 @lilypond[fragment,verbatim,center]
303 cis' d' e' cis' c'? d' e' c'!
307 @node Easy Notation note heads
308 @subsection Easy Notation note heads
310 @cindex easy notation
313 A entirely different type of note head is the "easyplay" note head: a
314 note head that includes a note name. It is used in some publications by
315 Hal-Leonard Inc. music publishers.
317 @lilypond[singleline,verbatim]
318 \include "paper23.ly"
320 \notes { c'2 e'4 f' | g'1 }
321 \paper { \translator { \EasyNotation } }
325 Note that @code{EasyNotation} overrides a @code{Score} context. You
326 probably will want to print it with magnification to make it better
327 readable, see @ref{Output scaling}.
333 If you view the result with Xdvi, then staff lines will show through the
334 letters. Printing the postscript file obtained either by using dvips or
335 the @code{-f ps} option of lilypond produces the correct result.
345 A tie connects two adjacent note heads of the same pitch. When used
346 with chords, it connects all the note heads whose pitches match.
347 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
348 together chords which have no common pitches then no ties will be
351 @lilypond[fragment,verbatim,center]
352 e' ~ e' <c' e' g'> ~ <c' e' g'>
355 If you dislike the amount of ties created for a chord, you set
356 @code{Voice.sparseTies} to true, resulting in a smaller number of
358 @lilypond[fragment,verbatim,center]
359 \property Voice.sparseTies = ##t
360 <c' e' g'> ~ <c' e' g'>
363 In its meaning a tie is just a way of extending a note duration, similar
364 to the augmentation dot: the following example are two ways of notating
365 exactly the same concept.
367 @lilypond[fragment, singleline]
371 The name of the tie grob is @code{Voice.Tie}.
375 At present, the tie is implemented as a separate thing, temporally
376 located in between the notes. There is also no way to convert
377 between tied notes, dotted notes and plain notes.
379 Tieing only a subset of the note heads of a chord is not supported in a
380 simple way. It can be achieved by moving the tie-engraver into the Thread
381 context and turning on and off ties per Thread.
389 @cindex @code{\times}
391 Tuplets are made out of a music expression by multiplying their duration
394 @cindex @code{\times}
396 \times @var{fraction} @var{musicexpr}
399 The duration of @var{musicexpr} will be multiplied by the fraction.
400 In print, the fraction's denominator will be printed over the notes,
401 optionally with a bracket. The most common tuplet is the triplet in
402 which 3 notes have the length of 2, so the notes are 2/3 of
403 their written length:
405 @lilypond[fragment,verbatim,center]
406 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 The property @code{tupletSpannerDuration} specifies how long each bracket
410 should last. With this, you can make lots of tuplets while typing
411 @code{\times} only once, thus saving typing work.
413 @lilypond[fragment, relative, singleline, verbatim]
414 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
415 \times 2/3 { c''8 c c c c c }
418 The format of the number is determined by the property
419 @code{tupletNumberFormatFunction}. The default prints only the
420 denominator, but if you set it to the Scheme function
421 @code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
423 @cindex @code{tupletNumberFormatFunction}
424 @cindex tuplet formatting
426 Tuplet brackets are printed as @code{TupletBracket} grobs
434 Rests are entered like notes, with note name `@code{r}'. The grob is
435 @code{Rest}. Whole bar rests centered in the bar are specified using
436 @code{R}, see @ref{Multi measure rests}.
451 Skips the amount of time specified by @var{duration}. If no other music
452 is played, a gap will be left for the skipped time without any notes
453 printed. The shorthand is only available in Note and Chord mode.
458 @section Staff notation
460 @cindex Staff notation
472 @subsection Key signature
477 Setting or changing the key signature is done with the @code{\key}
480 @code{\key} @var{pitch} @var{type}
483 @cindex @code{\minor}
484 @cindex @code{\major}
485 @cindex @code{\minor}
486 @cindex @code{\ionian}
487 @cindex @code{\locrian}
488 @cindex @code{\aeolian}
489 @cindex @code{\mixolydian}
490 @cindex @code{\lydian}
491 @cindex @code{\phrygian}
492 @cindex @code{\dorian}
494 Here, @var{type} should be @code{\major} or @code{\minor} to get
495 @var{pitch}-major or @var{pitch}-minor, respectively.
496 The standard mode names @code{\ionian},
497 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
498 @code{\phrygian}, and @code{\dorian} are also defined.
500 This command sets the context property @code{Staff.keySignature}.
501 Non-standard key signatures can be specified by setting this property
502 directly, see the generated documentation for @rgrob{KeySignature}.
504 The printed signature is a @code{KeySignature} grob.
506 @cindex @code{keySignature}
513 The clef can be set or changed with the @code{\clef} command.
521 \property Staff.clefGlyph = @var{glyph associated with clefname}
522 \property Staff.clefPosition = @var{clef Y-position for clefname}
523 \property Staff.clefOctavation = @var{extra transposition of clefname}
526 Any change in these properties creates a clef (a @code{Clef} grob).
528 Supported clef-names include
531 @item treble, violin, G, G2
555 By adding @code{_8} or @code{^8} to the clef name, the clef is
556 transposed one octave down or up, respectively.
558 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
567 @item clefs-vaticana_do
568 Editio Vaticana style do clef
569 @item clefs-vaticana_fa
570 Editio Vaticana style fa clef
571 @item clefs-medicaea_do
572 Editio Medicaea style do clef
573 @item clefs-medicaea_fa
574 Editio Medicaea style fa clef
575 @item clefs-mensural1_c
576 modern style mensural C clef
577 @item clefs-mensural2_c
578 historic style small mensural C clef
579 @item clefs-mensural3_c
580 historic style big mensural C clef
581 @item clefs-mensural1_f
582 historic style traditional mensural F clef
583 @item clefs-mensural2_f
584 historic style new mensural F clef
585 @item clefs-mensural_g
586 historic style mensural G clef
587 @item clefs-hufnagel_do
588 historic style hufnagel do clef
589 @item clefs-hufnagel_fa
590 historic style hufnagel fa clef
591 @item clefs-hufnagel_do_fa
592 historic style hufnagel combined do/fa clef
593 @item clefs-percussion
594 modern style percussion clef
597 @emph{Modern style} means ``as is typeset in current editions.''
598 @emph{Historic style} means ``as was typeset or written in contemporary
599 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
602 @cindex Vaticana, Editio
603 @cindex Medicaea, Editio
604 @cindex hufnagel clefs
607 @c . {Time signature}
609 @subsection Time signature
610 @cindex Time signature
614 The time signature is set or changed by the @code{\time}
617 \time @var{n}@code{/}@var{d}
619 Internally, this is a shortcut for doing
621 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
622 \property Score.beatLength = #(make-moment 1 @var{d})
623 \property Score.measureLength = #(make-moment @var{n} @var{d})
626 These properties @code{timeSignatureFraction} determine where bar lines
627 should be inserted, and how automatic beams should be
630 Changing the value of @code{timeSignatureFraction} also causes a
631 fraction to be printed. This grob is @code{TimeSignature}.
633 The actual symbol that's printed can be customised with the style
635 @lilypond[fragment, verbatim, singleline]
637 \property Staff.TimeSignature \override #'style = #'C
639 \property Staff.TimeSignature \override #'style = #'()
641 \property Staff.TimeSignature \override #'style = #'C
645 There are many more options for the layout of this grob. They are
646 selected through the @code{style} grob property.
648 @c FIXME: this isn't documented except in example?
650 @file{input/test/time.ly} for examples.
657 @cindex partial measure
658 @cindex measure, partial
659 @cindex shorten measures
660 @cindex @code{\partial}
662 Partial measures, for example in upbeats, are entered using the
663 @code{\partial} command:
665 \partial @var{duration}
668 Internally, this is a shortcut for
671 \property Score.measurePosition = -@var{length of duration}
675 The property @code{measurePosition} contains a rational number
676 indicating how much of the measure has passed at this point.
679 @node Unmetered music
680 @subsection Unmetered music
682 Bar lines and bar numbers are calculated automatically. For unmetered
683 music (e.g. cadenzas), this is not desirable. The property
684 @code{Score.timing} can be used to switch off this automatic timing
686 @lilypond[fragment,relative,singleline,verbatim]
688 \property Score.timing = ##f
690 \property Score.timing = ##t
694 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
695 achieve the same effect.
701 @subsection Bar lines
705 @cindex measure lines
712 This is a shortcut for doing
714 \property Score.whichBar = @var{bartype}
717 You are encouraged to use @code{\repeat} for repetitions. See
721 @cindex Bar_line_engraver
723 @cindex repeatCommands
724 @cindex defaultBarType
726 Whenever @code{whichBar} is set to a string, a bar line of that type is
727 created. @code{whichBar} is usually set automatically: at the start of
728 a measure it is set to @code{defaultBarType}. The contents of
729 @code{repeatCommands} is used to override default measure bars.
731 @code{whichBar} can also be set directly, using @code{\property} or
732 @code{\bar }. These settings take precedence over the automatic
733 @code{whichBar} settings.
735 @code{Bar_engraver} creates @code{BarLine} grobs.
742 Polyphonic parts, i.e. parts with more than one voice on a staff can be
743 typeset with LilyPond. To use this, instantiate a separate Voice
744 context for each part, and assign a stem direction to each part.
745 @lilypond[fragment,verbatim]
747 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
748 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
751 When there are more than two voices on a staff, you must also indicate
752 which voice should moved horizontally in case of a collision. This can
753 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
754 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
755 in @code{NoteColumn}).
757 @lilypond[fragment, verbatim]
758 \context Staff \notes\relative c''<
765 \context Voice=three {
766 \shiftOnn \stemUp ais
768 \context Voice=four {
769 \shiftOnnn \stemUp fis
774 The most convenient way is to use the identifiers @code{\voiceOne}
775 through @code{\voiceFour}, which also set slur and tie directions in the
778 @lilypond[singleline, verbatim]
780 \context Staff < \context Voice = VA { \voiceOne cis2 b }
781 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
782 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
785 Normally, note heads with a different number of dots are not merged, but
786 if you set the grob property @code{merge-differently-dotted}, they are:
788 @lilypond[verbatim,fragment,singleline]
790 \context Voice = VA { \voiceOne
792 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
795 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
799 LilyPond also vertically shifts rests that are opposite of a stem.
801 @lilypond[singleline,verbatim]
803 \context Voice { \stemUp c''4 }
804 \context Voice =VB { r4 }
808 Note head collisions (horizontal shifting of note heads) are handled by
809 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
812 @cindex @code{NoteCollision}
813 @cindex @code{RestCollision}
818 Resolving collisions is a very intricate subject, and LilyPond only
819 handles a few situations. When it can not cope, you are advised to use
820 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
821 the Rest grob to override typesetting decisions.
826 Beams are used to group short notes into chunks that are aligned with
827 the metrum. LilyPond guesses where beams should be inserted. If you're
828 not satisfied with the automatic beaming, you can specify which patterns
829 to beam automatically. In specific cases, you can also enter the beams
833 @c . {Automatic beams}
834 @subsection Automatic beams
836 @cindex @code{Voice.autoBeamSettings}
837 @cindex @code{(end * * * *)}
838 @cindex @code{(begin * * * *)}
841 In normal time signatures, automatic beams can start on any note but can
842 only end in a few positions within the measure: beams can end on a beat,
843 or at durations specified by the properties in
844 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
845 are defined in @file{scm/auto-beam.scm}.
847 The value of @code{autoBeamSettings} is changed using
848 @code{\override} and unset using @code{\revert}:
850 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
851 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
853 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
854 whether the rule applies to begin or end-points. The quantity
855 @var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
856 be entered to designate all time signatures), @var{P}/@var{Q} refers to
857 the length of the beamed notes (and `@code{* *}' designates notes of any
860 For example, if you want automatic beams to end on every quarter note,
861 you can use the following:
863 \property Voice.autoBeamSettings \override
864 #'(end * * * *) = #(make-moment 1 4)
866 Since the duration of a quarter note is 1/4 of a whole note, it is
867 entered as @code{(make-moment 1 4)}.
869 The same syntax can be used to specify beam starting points. In this
870 example, automatic beams can only end on a dotted quarter note.
872 \property Voice.autoBeamSettings \override
873 #'(end * * * *) = #(make-moment 3 8)
875 In 4/4 time signature, this means that automatic beams could end only on
876 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
877 3/8 has passed within the measure).
879 You can also restrict rules to specific time signatures. A rule that
880 should only be applied in @var{N}/@var{M} time signature is formed by
881 replacing the first asterisks by @var{N} and @var{M}. For example, a
882 rule for 6/8 time exclusively looks like
884 \property Voice.autoBeamSettings \override
885 #'(begin 6 8 * *) = ...
888 If you want a rule to apply to certain types of beams, you can use the
889 second pair of asterisks. Beams are classified according to the shortest
890 note they contain. For a beam ending rule that only applies to beams
891 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
895 @c Automatic beams can not be put on the last note in a score.
897 If a score ends while an automatic beam has not been ended and is still
898 accepting notes, this last beam will not be typeset at all.
900 @cindex automatic beam generation
902 @cindex @code{Voice.noAutoBeaming}
904 Automatic beaming is on by default, but can be switched off by setting
905 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
906 a melody that goes with lyrics.
910 It is not possible to specify beaming parameters for beams with mixed
911 durations, that differ from the beaming parameters of all separate
912 durations, i.e., you'll have to specify manual beams to get:
913 @lilypond[fragment,singleline,relative]
914 \property Voice.autoBeamSettings
915 \override #'(end * * * *) = #(make-moment 3 8)
916 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
919 It is not possible to specify beaming parameters that act differently in
920 different parts of a measure. This means that it is not possible to use
921 automatic beaming in irregular meters such as @code{5/8}.
924 @cindex Automatic beams
925 @subsection Manual beams
926 @cindex beams, manual
930 In some cases it may be necessary to override LilyPond's automatic
931 beaming algorithm. For example, the auto beamer will not beam over
932 rests or bar lines, If you want that, specify the begin and end point
933 manually using a @code{[} before the first beamed note and a @code{]}
936 @lilypond[fragment,relative,verbatim]
938 r4 [r8 g'' a r8] r8 [g | a] r8
941 Whenever an manual beam is busy, the automatic beamer will not produce
944 @cindex @code{stemLeftBeamCount}
946 Normally, beaming patterns within a beam are determined automatically.
947 When this mechanism fouls up, the properties
948 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
949 be used to control the beam subdivision on a stem. If you set either
950 property, it's value will be used only once, and then it is erased.
952 @lilypond[fragment,relative,verbatim]
955 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
958 @cindex @code{stemRightBeamCount}
960 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
961 beams) can be tweaked through grob-properties @code{height} and
962 @code{staff-position}. These specify vertical location and vertical
963 span. Both are measured in half staff-spaces, @code{staff-position=0}
964 corresponds to the middle staff line.
967 Set @code{height} to zero, to get horizontal beams:
969 @lilypond[fragment,relative,verbatim]
970 \property Voice.Beam \set #'direction = #1
971 \property Voice.Beam \set #'height = #0
975 Here's how you'd specify a weird looking beam that instead of being
976 horizontal, falls two staff spaces:
978 @lilypond[fragment,relative,verbatim]
979 \property Voice.Beam \set #'staff-position = #4
980 \property Voice.Beam \set #'height = #-4
983 @cindex @code{default-neutral-direction}
985 @node Expressive marks
986 @section Expressive marks
1001 A slur indicates that notes are to be played bound or @emph{legato}.
1002 They are entered using parentheses:
1004 @lilypond[fragment,verbatim,center]
1005 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1009 Slurs avoid crossing stems, and are generally attached to note heads.
1010 However, in some situations with beams, slurs may be attached to stem
1011 ends. If you want to override this layout you can do this through the
1012 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
1013 pair of symbols, specifying the attachment type of the left and right end points.
1015 @lilypond[fragment,relative,verbatim]
1016 \property Voice.Slur \set #'direction = #1
1017 \property Voice.Stem \set #'length = #5.5
1019 \property Voice.Slur \set #'attachment = #'(stem . stem)
1023 If a slur would strike through a stem or beam, the slur will be moved
1024 away upward or downward. If this happens, attaching the slur to the
1025 stems might look better:
1027 @lilypond[fragment,relative,verbatim]
1028 \property Voice.Stem \set #'direction = #1
1029 \property Voice.Slur \set #'direction = #1
1031 \property Voice.Slur \set #'attachment = #'(stem . stem)
1036 Similarly, the curvature of a slur is adjusted to stay clear of note
1037 heads and stems. When that would increase the curvature too much, the
1038 slur is reverted to its default shape. The threshold for this decision
1039 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1040 related to the enclosed area between the slur and the notes. Usually,
1041 the default setting works well, but in some cases you may prefer a
1042 curved slur when LilyPond decides for a vertically moved one. You can
1043 indicate this preference by increasing the @code{beautiful} value:
1045 @lilypond[verbatim,singleline,relative]
1046 \property Voice.Beam \override #'direction = #-1
1047 \property Voice.Slur \override #'direction = #1
1048 c'16( a' f' a a f a, )c,
1049 c( a' f' a a f d, )c
1050 \property Voice.Slur \override #'beautiful = #5.0
1051 c( a' f' a a f d, )c
1056 @code{beautiful} is an arbitrary parameter in the slur formatter.
1057 Useful values can only be determined by trial and error.
1059 @cindex Adjusting slurs
1062 @subsection Phrasing slur
1064 @cindex phrasing slur
1065 @cindex phrasing mark
1067 A phrasing slur (or phrasing mark) connects chords and is used to
1068 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1071 @lilypond[fragment,verbatim,center,relative]
1072 \time 6/4 c''\((d)e f(e)\)d
1075 Typographically, the phrasing slur behaves almost exactly like a normal
1076 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1079 @subsection Breath marks
1081 Breath marks are entered using @code{\breathe}. The result is a
1082 @code{Voice.BreathingSign} grob.
1084 @lilypond[fragment,relative]
1093 Currently, only tick marks are supported, not comma style breath marks.
1100 @cindex beats per minute
1101 @cindex metronome marking
1103 Metronome settings can be entered as follows:
1105 @cindex @code{\tempo}
1107 \tempo @var{duration} = @var{perminute}
1110 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1115 The tempo setting is not printed, but is only used in the MIDI
1116 output. You can trick lily into producing a metronome mark,
1117 though. Details are in @ref{Text markup}.
1122 @subsection Text spanner
1123 @cindex Text spanner
1125 Some textual indications, e.g. rallentando, accelerando, often extend
1126 over many measures. This is indicated by following the text with a
1127 dotted line. You can create such texts using text spanners. The syntax
1130 \spanrequest \start "text"
1131 \spanrequest \stop "text"
1133 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1134 string to be printed, as well as the style is set through grob
1137 An application---or rather, a hack---is to fake octavation indications.
1138 @lilypond[fragment,relative,verbatim]
1139 \relative c' { a''' b c a
1140 \property Voice.TextSpanner \set #'type = #'dotted-line
1141 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1142 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1143 \property Staff.centralCPosition = #-13
1144 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1162 @subsection Articulation
1163 @cindex Articulation
1165 @cindex articulations
1169 A variety of symbols can appear above and below notes to indicate
1170 different characteristics of the performance. These symbols can be
1171 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1172 are defined in @file{script.ly}. Symbols can be forced to appear above
1173 or below the note by writing `@var{note}@code{^\}@var{name}' and
1174 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1175 symbols on notes, with the name of the corresponding symbol appearing
1181 \property Score.LyricSyllable \override #'font-family =#'typewriter
1182 \property Score.LyricSyllable \override #'font-shape = #'upright
1183 \context Staff \notes {
1184 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1185 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1186 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1187 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1188 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1189 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1190 c''-\thumb c''-\segno c''-\coda
1192 \context Lyrics \lyrics {
1193 accent__ marcato__ staccatissimo__ fermata
1194 stopped__ staccato__ tenuto__ upbow
1195 downbow__ lheel__ rheel__ ltoe
1196 rtoe__ turn__ open__ flageolet
1197 reverseturn__ trill__ prall__ mordent
1198 prallprall__ prallmordent__ uprall__ downprall
1199 thumb__ segno__ coda
1203 linewidth = 5.875\in
1209 To save typing work, some shorthands are available:
1210 @lilypond[singleline]
1212 \notes \context Voice {
1213 \property Voice.TextScript \set #'font-family = #'typewriter
1214 \property Voice.TextScript \set #'font-shape = #'upright
1220 c''4-^_"c-\\^{ }" s4
1227 Fingering instructions can also be entered in this shorthand.
1228 @lilypond[verbatim, singleline, fragment]
1229 c'4-1 c'4-2 c'4-3 c'4-4
1233 @cindex @code{\script}
1238 You can add scripts by editing @file{scm/script.scm}. This file contains
1239 a table, listing script definitions and aliases. The following syntax
1240 accesses a script definition from the table:
1246 Usually the @code{\script} keyword is not used directly. Various
1247 helpful identifier definitions appear in @file{script.ly}.
1249 Grobs for these objects are @code{Script} and @code{Fingering}.
1253 All of these note ornaments appear in the printed output but have no
1254 effect on the MIDI rendering of the music.
1256 Unfortunately, there is no support for adding fingering instructions or
1257 ornaments to individual note heads. Some hacks exist, though. See
1258 @file{input/test/script-horizontal.ly}.
1263 @subsection Text scripts
1264 @cindex Text scripts
1266 In addition, it is possible to place arbitrary strings of text or markup
1267 text (see @ref{Text markup}) above or below notes by using a string:
1270 By default, these indications do not influence the note spacing, but
1271 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1272 into account. The identifier @code{\fatText} is defined in the standard
1274 @lilypond[fragment,singleline,verbatim]
1275 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1278 Text scripts are created in form of @code{Voice.TextScript} grobs.
1280 @ref{Text markup} describes how to change the font or access
1281 special symbols in text scripts.
1285 @subsection Grace notes
1294 @cindex @code{\grace}
1297 @cindex @code{graceAlignPosition}
1299 Grace notes are ornaments that are written out, but do not take up any
1300 logical time in a measure. LilyPond has limited support for grace notes.
1301 The syntax is as follows.
1303 \grace @var{musicexpr}
1306 When grace music is interpreted, a score-within-a-score is set up:
1307 @var{musicexpr} has its own time bookkeeping, and you could (for
1308 example) have a separate time signature within the grace notes. While in
1309 this score-within-a-score, you can create notes, beams, slurs, etc.
1310 Unbeamed eighth notes and shorter by default have a slash through the
1313 @lilypond[fragment,verbatim]
1315 \grace c8 c4 \grace { [c16 c16] } c4
1316 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1321 A grace note expression has duration 0; the next real note is assumed to
1322 be the main note. If you want the note to appear after the main note,
1323 set @code{Voice.graceAlignPosition} to @code{1}.
1327 At present, slurs or ties from the grace notes to the following notes
1328 are not supported. Also, nesting @code{\grace} notes is not
1329 supported. The following may cause run-time errors:
1331 @code{\grace @{ \grace c32 c16 @} c4}
1333 Since the meaning of such a construct is unclear, we don't consider this
1334 a loss. Similarly, juxtaposing two @code{\grace} sections is
1335 syntactically valid, but makes no sense and may cause runtime errors.
1336 Ending a staff or score with grace notes may also generate a run-time
1337 error, since there will be no main note to attach the grace notes to.
1339 The present implementation of grace notes is not robust and generally
1340 kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
1341 also be implemented.
1352 @subsection Glissando
1355 @cindex @code{\glissando}
1357 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1358 @code{\glissando} to a note:
1360 @lilypond[fragment,relative,verbatim]
1366 Printing of an additional text (such as @emph{gliss.}) must be done
1373 @subsection Dynamics
1386 @cindex @code{\ffff}
1396 Absolute dynamic marks are specified using an identifier after a
1397 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1398 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1399 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1400 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1402 @lilypond[verbatim,singleline,fragment,relative]
1403 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1409 @cindex @code{\decr}
1410 @cindex @code{\rced}
1416 A crescendo mark is started with @code{\cr} and terminated with
1417 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1418 started with @code{\decr} and terminated with @code{\rced}. There are
1419 also shorthands for these marks. A crescendo can be started with
1420 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1421 can be terminated with @code{\!}. Note that @code{\!} must go before
1422 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1423 after the last note. Because these marks are bound to notes, if you
1424 want several marks during one note, you have to use spacer notes.
1426 @lilypond[fragment,verbatim,center]
1427 c'' \< \! c'' d'' \decr e'' \rced
1428 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1432 is an example how to do it:
1437 @lilypond[fragment,relative,verbatim]
1439 \property Voice.crescendoText = "cresc."
1440 \property Voice.crescendoSpanner = #'dashed-line
1445 For everyday use, we recommend the identifiers @code{\cresc},
1446 @code{endcresc}, @code{\dim} and @code{\enddim}.
1450 Dynamics are grobs of @code{Voice.DynamicText} and
1451 @code{Voice.Hairpin}. They are put together on
1452 @code{Voice.DynamicLineSpanner} to align them vertically.
1461 @cindex @code{\repeat}
1463 To specify repeats, use the @code{\repeat} keyword. Since repeats
1464 should work differently when played or printed, there are a few
1465 different variants of repeats.
1469 Repeated music is fully written (played) out. Useful for MIDI
1470 output, and entering repetitive music.
1473 This is the normal notation: Repeats are not written out, but
1474 alternative endings (voltas) are printed, left to right.
1477 Alternative endings are written stacked. This has limited use but may be
1478 used to typeset two lines of lyrics in songs with repeats, see
1479 @file{input/star-spangled-banner.ly}.
1485 Make measure repeats. These look like percent signs.
1491 * Manual repeat commands::
1493 * Tremolo subdivision::
1498 @subsection Repeat syntax
1500 The syntax for repeats is
1503 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1506 If you have alternative endings, you may add
1507 @cindex @code{\alternative}
1509 \alternative @code{@{} @var{alternative1}
1511 @var{alternative3} @dots{} @code{@}}
1513 where each @var{alternative} is a music expression.
1515 Normal notation repeats are used like this:
1516 @lilypond[fragment,verbatim]
1518 \repeat volta 2 { c'4 d' e' f' }
1519 \repeat volta 2 { f' e' d' c' }
1522 With alternative endings:
1523 @lilypond[fragment,verbatim]
1525 \repeat volta 2 {c'4 d' e' f'}
1526 \alternative { {d'2 d'} {f' f} }
1529 Folded repeats look like this:
1532 @lilypond[fragment,verbatim]
1534 \repeat fold 2 {c'4 d' e' f'}
1535 \alternative { {d'2 d'} {f' f} }
1539 If you don't give enough alternatives for all of the repeats, then
1540 the first alternative is assumed to be repeated often enough to equal
1541 the specified number of repeats.
1543 @lilypond[fragment,verbatim]
1547 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1548 \alternative { { g4 g g } { a | a a a a | b2. } }
1555 Notice that timing information is not remembered at the start of an
1556 alternative, so you have to reset timing information after a repeat,
1557 e.g. using a bar-check (See @ref{Bar check}), setting
1558 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1559 are also not repeated.
1561 It is possible to nest @code{\repeat}s, although this probably is only
1562 meaningful for unfolded repeats.
1564 Folded repeats offer little more over simultaneous music. However, it
1565 is to be expected that more functionality -- especially for the MIDI
1566 backend -- will be implemented at some point in the future.
1568 Volta repeats are printed over all staffs in a score. You must turn them
1569 off explicitly, for example by doing
1571 \property Staff.VoltaBracket = \turnOff
1574 @node Manual repeat commands
1575 @subsection Manual repeat commands
1577 @cindex @code{repeatCommands}
1579 The property @code{repeatCommands} can be used to control the layout of
1580 repeats. Its value is a Scheme list of repeat commands, where each repeat
1588 @item (volta . @var{text})
1589 Print a volta bracket saying @var{text}.
1591 Stop a running volta bracket
1594 @lilypond[verbatim, fragment]
1596 \property Score.repeatCommands = #'((volta "93") end-repeat)
1598 \property Score.repeatCommands = #'((volta #f))
1603 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1605 @node Tremolo repeats
1606 @subsection Tremolo repeats
1607 @cindex tremolo beams
1609 To place tremolo marks between notes, use @code{\repeat} with tremolo
1611 @lilypond[verbatim,center,singleline]
1613 \context Voice \notes\relative c' {
1614 \repeat "tremolo" 8 { c16 d16 }
1615 \repeat "tremolo" 4 { c16 d16 }
1616 \repeat "tremolo" 2 { c16 d16 }
1617 \repeat "tremolo" 4 c16
1622 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1623 @code{Voice.StemTremolo}.
1628 At present, the spacing between tremolo beams is not regular, since the
1629 spacing engine does not notice that not all notes are printed.
1631 @node Tremolo subdivision
1632 @subsection Tremolo subdivision
1633 @cindex tremolo marks
1634 @cindex @code{tremoloFlags}
1636 Tremolo marks can be printed on a single note by adding
1637 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1638 A @var{length} value of 8 gives one line across the note stem. If the
1639 length is omitted, then then the last value (stored in
1640 @code{Voice.tremoloFlags}) is used.
1642 @lilypond[verbatim,fragment,center]
1643 c'2:8 c':32 | c': c': |
1645 Using this mechanism pays off when you enter many tremolos, since the
1646 default argument saves typing.
1651 Tremolos in this style do not carry over into the MIDI output.
1654 @node Measure repeats
1655 @subsection Measure repeats
1657 @cindex percent repeats
1658 @cindex measure repeats
1660 In the @code{percent} style, a note pattern can be repeated. It is
1661 printed once, and then the pattern is replaced with a special sign.
1662 Patterns of a one and two measures are replaced by percent signs,
1663 patterns that divide the measure length are replaced by slashes.
1665 @lilypond[verbatim,singleline]
1666 \context Voice { \repeat "percent" 4 { c'4 }
1667 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1671 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1672 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1676 You can not nest percent repeats, e.g. by filling in the first measure
1677 with slashes, and repeating that measure with percents.
1679 @node Rhythmic music
1680 @section Rhythmic music
1687 @node Rhythmic staffs
1688 @subsection Rhythmic staffs
1690 Sometimes you might want to show only the rhythm of a melody. This can
1691 be done with the rhythmic staff. All pitches of notes on such a staff
1692 are squashed, and the staff itself looks has a single staff line:
1694 @lilypond[fragment,relative,verbatim]
1695 \context RhythmicStaff {
1697 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1704 @section Piano music
1706 Piano music is an odd type of notation. Piano staffs are two normal
1707 staffs coupled with a brace. The staffs are largely independent, but
1708 sometimes voices can cross between the two staffs. The
1709 @code{PianoStaff} is especially built to handle this cross-staffing
1710 behavior. In this section we discuss the @code{PianoStaff} and some
1711 other pianistic peculiarities.
1714 * Automatic staff changes::
1715 * Manual staff switches::
1718 * Voice follower line::
1722 @c . {Automatic staff changes}
1723 @node Automatic staff changes
1724 @subsection Automatic staff changes
1725 @cindex Automatic staff changes
1727 Voices can switch automatically between the top and the bottom
1728 staff. The syntax for this is
1730 \autochange @var{contexttype} @var{musicexp}
1732 This will switch the interpretation context of @var{musicexp} between a
1733 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1734 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1735 of pitch (central C is the turning point), and it looks ahead skipping
1736 over rests to switch rests in advance.
1738 @lilypond[verbatim,singleline]
1739 \score { \notes \context PianoStaff <
1740 \context Staff = "up" {
1741 \autochange Staff \context Voice = VA < \relative c' {
1742 g4 a b c d r4 a g } > }
1743 \context Staff = "down" {
1749 Note how spacer rests are used to prevent the bottom staff from
1750 terminating too soon.
1753 @node Manual staff switches
1754 @subsection Manual staff switches
1756 @cindex manual staff switches
1757 @cindex staff switch, manual
1759 Voices can be switched between staffs manually, using the following command:
1761 \translator Staff = @var{staffname} @var{music}
1763 The string @var{staffname} is the name of the staff. It switches the
1764 current voice from its current staff to the Staff called
1765 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1768 The formal definition of this construct is obtuse, but for the sake of
1769 completeness we give it here.
1770 @cindex @code{\translator}
1772 \translator @var{contexttype} = @var{name}
1774 Formally, this construct is a music expression indicating
1775 that the context which is a direct child of the context of type
1776 @var{contexttype} should be shifted to a context of type
1777 @var{contexttype} and the specified name.
1785 Piano pedal instruction can be expressed using
1786 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1787 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1789 These identifiers are shorthands for spanner commands of the types
1790 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1792 @lilypond[fragment,verbatim]
1793 c''4 \spanrequest \start "Sustain" c''4
1794 c''4 \spanrequest \stop "Sustain"
1797 The symbols that are printed can be modified by setting
1798 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1799 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1805 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1811 @subsection Arpeggio
1814 @cindex broken arpeggio
1815 @cindex @code{\arpeggio}
1817 You can specify an arpeggio sign on a chord by attaching an
1818 @code{\arpeggio} to a note of the chord.
1821 @lilypond[fragment,relative,verbatim]
1822 \context Voice <c'\arpeggio e g c>
1825 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1826 to the chords in both staffs, and set
1827 @code{PianoStaff.connectArpeggios}.
1829 @lilypond[fragment,relative,verbatim]
1830 \context PianoStaff <
1831 \property PianoStaff.connectArpeggios = ##t
1832 \context Voice = one { <c''\arpeggio e g c> }
1833 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1837 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1838 are @code{PianoStaff.Arpeggio}.
1842 It is not possible to mix connected arpeggios and unconnected arpeggios
1847 @node Voice follower line
1848 @subsection Voice follower line
1850 @cindex follow voice
1851 @cindex staff switching
1854 @cindex @code{followVoice}
1856 Whenever a voice switches to another staff a line connecting the notes
1857 can be printed automatically. This is enabled if the property
1858 @code{PianoStaff.followVoice} is set to true:
1860 @lilypond[fragment,relative,verbatim]
1861 \context PianoStaff <
1862 \property PianoStaff.followVoice = ##t
1863 \context Staff \context Voice {
1865 \translator Staff=two
1868 \context Staff=two {\clef bass \skip 1*2 }
1872 The associated grob is @code{Voice.VoiceFollower}.
1882 * Automatic syllable durations::
1888 @subsection Lyrics mode
1891 To print lyrics, you must first make a music expression from the lyric
1892 text. That music expression can be printed by selecting an appropriate
1896 @cindex @code{\lyrics}
1898 You can enter lyrics in a special input mode of LilyPond. This mode is
1899 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1900 The purpose of this mode is that you can enter lyrics as plain text,
1901 punctuation and accents without any hassle.
1903 Syllables are entered like notes, with pitches replaced by text. For
1904 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1905 the hyphen has no special meaning for lyrics, and does not introduce
1908 Spaces can be introduced into a lyric either by using quotes:
1909 @code{"He could"4 not4} or by using an underscore without quotes:
1910 @code{He_could4 not4}. All unquoted underscores are converted to
1913 The precise definition of this mode is in @ref{Lyrics mode
1916 @c . {Printing lyrics}
1917 @node Printing lyrics
1918 @subsection Printing lyrics
1921 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1923 @lilypond[verbatim,singleline]
1924 \addlyrics \notes \relative c' {
1926 \property Staff.automaticMelismata = ##t
1927 d'2 c4 b16 ( a g a b a b ) c a2
1928 b2 c4 b8 ( a16 g ) a4 g2 }
1929 \context Lyrics \lyrics {
1931 share the soft -- ware; }
1935 Notes and syllable durations are matched automatically. This is
1936 accomplished using @code{\addlyrics}, which is documented in
1937 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1938 the melody staff will cause slurs to be interpreted as melismata.
1940 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1943 @cindex lyric extender
1946 As you can see, extender lines are entered as @code{__}. This will
1947 create an extender, a line that extends over the entire duration of the
1948 lyric. This line will run all the way to the start of the next lyric,
1949 so you may want to shorten it by using a blank lyric (using @code{_}).
1950 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1955 If you want to have hyphens centered between syllables (rather than
1956 attached to the end of the first syllable) you can use the special
1957 `@code{-}@code{-}' lyric as a separate word between syllables. This
1958 will result in a hyphen whose length varies depending on the space
1959 between syllables. It will be centered between the syllables. The grob
1960 for this symbol is @code{LyricsVoice.LyricHyphen}.
1962 @cindex Lyric hyphen
1964 @node Automatic syllable durations
1965 @subsection Automatic syllable durations
1966 @cindex Automatic syllable durations
1968 @cindex automatic lyric durations
1969 @cindex @code{\addlyrics}
1971 If you have lyrics that are set to a melody, you can copy the rhythm
1972 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1975 \addlyrics @var{musicexpr1 musicexpr2}
1978 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
1979 music event (``every syllable'') in @var{musicexpr2} is interpreted only
1980 when there are events in @var{musicexpr1}.
1982 @cindex @code{automaticMelismata}
1984 If the property @code{automaticMelismata} is set in the
1985 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1988 @lilypond[verbatim,fragment]
1991 \property Voice.automaticMelismata = ##t
1992 c8 () cis d8. e16 f2
1994 \context Lyrics \lyrics {
1998 If you want the lyric lines to be above the melody staff, or in some
1999 other, more complex configuration, then build that configuration first
2000 using simultaneous music, and use @code{\addlyrics} after that.
2002 @lilypond[verbatim, singleline]
2004 \context Lyrics = LA { s1 }
2005 \context Staff = SA { s1 }
2007 \context Staff = SA \relative c' { c4 e g g }
2008 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2011 For @code{\addlyrics} you should use a single rhythm melody, and single
2012 rhythm lyrics (a constant duration is the obvious choice). If you do
2013 not, you can get undesired effects when using multiple stanzas:
2015 @lilypond[verbatim,fragment]
2018 c8 () cis d8. e16 f2
2020 \context Lyrics \lyrics
2025 It is valid (but probably not very useful) to use notes instead of
2026 lyrics for @var{musicexpr2}.
2029 @subsection More stanzas
2033 If you have multiple stanzas printed underneath each other, the vertical
2034 groups of syllables should be aligned around punctuation. LilyPond can
2035 do this if you tell it which lyric lines belong to which melody.
2037 To this end, give the Voice context an identity, and set the LyricsVoice
2038 to a name starting with that identity followed by a dash.
2039 In the following example, the Voice
2040 identity is @code{duet}, and the identities of the LyricsVoices are
2041 @code{duet-1} and @code{duet-2}.
2044 @lilypond[singleline,verbatim]
2047 \notes \relative c'' \context Voice = duet { \time 3/4
2049 \lyrics \context Lyrics <
2050 \context LyricsVoice = "duet-1" {
2051 \property LyricsVoice . stanza = "Bert"
2052 Hi, my name is bert. }
2053 \context LyricsVoice = "duet-2" {
2054 \property LyricsVoice . stanza = "Ernie"
2055 Ooooo, ch\'e -- ri, je t'aime. }
2060 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2061 first system) and @code{LyricsVoice.stz} for the following
2062 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2068 @cindex stanza numbering
2076 LilyPond has support for both entering and printing chords. Chords are
2077 characterized by a set of pitches. They are
2078 internally stored as simultaneous music expressions. This means you can
2079 enter chords by name and print them as note head, enter them as notes
2080 and print them as chord names, or (the most common case) enter them by
2081 name, and print them as name.
2084 @lilypond[verbatim,singleline]
2085 twoWays = \notes \transpose c'' {
2095 < \context ChordNames \twoWays
2096 \context Voice \twoWays > }
2099 Note that this example also shows that the chord printing routines do
2100 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2101 interpret this as an inversion.
2105 * Printing named chords::
2110 @subsection Chords mode
2113 Chord mode is a mode where you can input sets of pitches using common
2114 names. It is introduced by the keyword @code{\chords}. It is similar
2115 to note mode, but words are also looked up in a chord modifier table
2116 (containing @code{maj}, @code{dim}, etc).
2118 Dashes and carets are used to indicate chord additions and subtractions,
2119 so articulation scripts can not be entered in Chord mode.
2121 The syntax for named chords is as follows:
2123 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2126 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2127 the chord duration in the usual notation. There are two kinds of
2128 modifiers. One type is formed by @emph{chord additions}. Additions are
2129 obtained by listing intervals separated by dots. An interval is written
2130 by its number with an optional @code{+} or @code{-} to indicate raising
2131 or lowering by half a step. Chord additions have two effects: they adds
2132 the specified interval and all lower odd numbered intervals to the
2133 chord, and they may lower or raise the specified interval.
2135 Throughout these examples, chords have been shifted around the staff
2136 using @code{\transpose}.
2138 @lilypond[fragment,verbatim]
2142 c:9 c:9-.5+.7+ c:3-.5-
2152 The second type of modifier that may appear after the @code{:} is a
2153 named modifier. Named modifiers are listed in the file
2154 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2155 @code{min} which lower the 3rd half a step, `@code{aug}' which
2156 raises the 5th, `@code{dim}' which lowers the 5th,
2157 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2158 which replaces the 5th with a 4th.
2160 @lilypond[fragment,verbatim]
2163 c1:m c:min7 c:maj c:aug c:dim c:sus
2169 Chord subtractions are used to eliminate notes from a chord. The
2170 notes to be subtracted are listed after a @code{^} character,
2173 @lilypond[fragment,verbatim,center]
2182 Chord inversions can be specified by appending `@code{/}' and the name
2183 of a single note to a chord. In a chord inversion, the inverted note is
2184 transposed down until it is the lowest note in the chord. If the note
2185 is not in the chord, a warning will be printed.
2187 @lilypond[fragment,verbatim,center]
2197 Bass notes can be added by `@code{/+}' and
2198 the name of a single note to a chord. This has the effect of
2199 adding the specified note to the chord, lowered by an octave,
2200 so it becomes the lowest note in the chord.
2202 @lilypond[fragment,verbatim,center]
2213 Implementation details are quite gory. For example @code{c:4} not only
2214 adds a fourth, but also removes the third.
2217 @c . {Printing named chords}
2218 @node Printing named chords
2219 @subsection Printing named chords
2221 @cindex printing chord names
2224 @cindex @code{ChordNames}
2227 For displaying printed chord names, use the @code{ChordNames} context.
2228 The chords may be entered either using the notation described above, or
2229 directly using simultaneous music.
2231 @lilypond[verbatim,singleline]
2233 \chords {a1 b c} <d f g> <e g b>
2237 \context ChordNames \scheme
2238 \context Staff \transpose c'' \scheme
2243 You can make the chord changes stand out by setting
2244 @code{ChordNames.chordChanges} to true. This will only display chord
2245 names when there's a change in the chords scheme and at the start of the
2250 c1:m c:m \break c:m c:m d
2254 \context ChordNames {
2255 \property ChordNames.chordChanges = ##t
2257 \context Staff \transpose c'' \scheme
2261 LilyPond examines chords specified as lists of notes to determine a name
2262 to give the chord. LilyPond will not try to identify chord inversions or
2263 an added bass note, which may result in strange chord names when chords
2264 are entered as a list of pitches:
2266 @lilypond[verbatim,center,singleline]
2275 \context ChordNames \scheme
2276 \context Staff \scheme
2282 By default, a chord name system proposed by Harald Banter (See
2283 @ref{Literature}) is used. The system is very regular and predictable.
2284 Typical American style chord names may be selected by setting the
2285 @code{style} property of the @code{ChordNames.ChordName} grob to
2286 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2288 Routines that determine the names to be printed are written in Scheme,
2289 and may be customized by the user. The code can be found in
2290 @file{scm/chord-name.scm}. Here's an example showing the differences in
2294 @c maybe just junk verbatim option?
2295 @lilypond[verbatim,singleline]
2305 \context ChordNames = banter \scheme
2306 \context ChordNames = american {
2307 \property ChordNames.ChordName \override
2308 #'style = #'american \scheme }
2309 \context ChordNames = jazz {
2310 \property ChordNames.ChordName \override
2311 #'style = #'jazz \scheme }
2312 \context Staff \transpose c'' \scheme
2319 @section Writing parts
2321 Orchestral music involves some special notation, both in the full score,
2322 as in the individual parts. This section explains how to tackle common
2323 problems in orchestral music.
2330 * Instrument names::
2332 * Sound output for transposing instruments::
2333 * Multi measure rests::
2334 * Automatic part combining::
2335 * Hara kiri staffs::
2338 @c . {Rehearsal marks}
2339 @node Rehearsal marks
2340 @subsection Rehearsal marks
2341 @cindex Rehearsal marks
2343 @cindex @code{\mark}
2344 @cindex @code{Mark_engraver}
2347 \mark @var{unsigned}
2352 This command prints a rehearsal mark above the system. You can provide
2353 a number, a string or a markup text as argument. If you use
2354 @code{\default}, the value of property @code{rehearsalMark} is used and
2355 automatically incremented.
2357 @lilypond[fragment,verbatim]
2363 c1 \mark #'(music "scripts-segno")
2368 The grob is @code{Score.RehearsalMark}. See
2369 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2372 @subsection Bar numbers
2374 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2375 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2379 It is not possible to have bar numbers printed at regular intervals
2382 @node Instrument names
2383 @subsection Instrument names
2385 You can specify an instrument name for a staff by setting
2386 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2387 before the start of the staff. For the first start, @code{instrument} is
2388 used, for the next ones @code{instr} is used.
2390 @lilypond[verbatim,singleline]
2391 \property Staff.instrument = "ploink " { c''4 }
2394 You can also use markup texts to construct more complicated instrument
2398 @lilypond[verbatim,singleline]
2400 '((font-relative-size . -2 ) (music "accidentals--1")))
2403 \property Staff.instrument = #`((kern . 0.5) (lines
2404 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2412 When you put a name on a grand staff or piano staff the width of the
2413 brace is not taken into account. You must add extra spaces to the end of
2414 the name to avoid a collision.
2417 @subsection Transpose
2419 @cindex transposition of pitches
2420 @cindex @code{\transpose}
2422 A music expression can be transposed with @code{\transpose}. The syntax
2425 \transpose @var{pitch} @var{musicexpr}
2428 This means that middle C in @var{musicexpr} is transposed to
2431 @code{\transpose} distinguishes between enharmonic pitches: both
2432 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2433 a tone. The first version will print sharps and the second version
2436 @lilypond[fragment,verbatim]
2439 { \key e \major c d e f }
2441 \transpose des'' { \key e \major c d e f }
2442 \transpose cis'' { \key e \major c d e f }
2446 If you want to use both @code{\transpose} and @code{\relative}, then
2447 you must use @code{\transpose} first. @code{\relative} will have no
2448 effect music that appears inside a @code{\transpose}.
2450 @node Sound output for transposing instruments
2451 @subsection Sound output transposing instruments
2453 When you want to play a score containing transposed and untransposed
2454 instruments, you have to instruct LilyPond the pitch offset (in
2455 semitones) for the transposed instruments. This is done using the
2456 @code{transposing} property. It does not affect printed output.
2458 @cindex @code{transposing}
2461 \property Staff.instrument = #"Cl. in B-flat"
2462 \property Staff.transposing = #-2
2466 @c . {Multi measure rests}
2467 @node Multi measure rests
2468 @subsection Multi measure rests
2469 @cindex Multi measure rests
2473 Multi measure rests are entered using `@code{R}'. It is specifically
2474 meant for full bar rests and for entering parts: the rest can expand to
2476 rests, or it can be printed as a single multimeasure rest This expansion
2477 is controlled by the property @code{Score.skipBars}. If this is set to true,
2478 Lily will not expand empty measures, and the appropriate number is added
2481 @lilypond[fragment,verbatim]
2482 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2485 Notice that the @code{R2.} is printed as a whole rest, centered in the
2488 @cindex whole rests for a full measure
2492 Currently, there is no way to condense multiple rests into a single
2495 @cindex condensing rests
2497 @node Automatic part combining
2498 @subsection Automatic part combining
2499 @cindex automatic part combining
2500 @cindex part combiner
2503 Automatic part combining is used to merge two parts of music onto a
2504 staff in an intelligent way. It is aimed primarily at typesetting
2505 orchestral scores. When the two parts are identical for a period of
2506 time, only one is shown. In places where the two parts differ, they are
2507 typeset as separate voices, and stem directions are set automatically.
2508 Also, solo and @emph{a due} parts can be identified and marked.
2510 The syntax for part combining is
2513 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2515 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2516 combined into one context of type @var{context}. The music expressions
2517 must be interpreted by contexts whose names should start with @code{one}
2520 The most useful function of the part combiner is to combine parts into
2521 one voice, as common for wind parts in orchestral scores:
2523 @lilypond[verbatim,singleline,fragment]
2525 \context Voice=one \partcombine Voice
2526 \context Thread=one \relative c'' {
2529 \context Thread=two \relative c'' {
2535 Notice that the first @code{g} appears only once, although it was
2536 specified twice (once in each part). Stem, slur and tie directions are
2537 set automatically, depending whether there is a solo or unisono. The
2538 first part (with context called @code{one}) always gets up stems, and
2539 `solo', while the second (called @code{two}) always gets down stems and
2542 If you just want the merging parts, and not the textual markings, you
2543 may set the property @var{soloADue} to false.
2545 @lilypond[verbatim,singleline,fragment]
2547 \property Staff.soloADue = ##f
2548 \context Voice=one \partcombine Voice
2549 \context Thread=one \relative c'' {
2552 \context Thread=two \relative c'' {
2558 There are a number of other properties that you can use to tweak the
2559 behavior of part combining, refer to the automatically generated
2560 documentation of @reng{Thread_devnull_engraver} and
2561 @reng{Voice_devnull_engraver}. Look at the documentation of the
2562 responsible engravers, @code{Thread_devnull_engraver},
2563 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2567 In @code{soloADue} mode, when the two voices play the same notes on and
2568 off, the part combiner may typeset @code{a2} more than once in a
2571 @lilypond[fragment,singleline]
2573 \context Voice=one \partcombine Voice
2574 \context Thread=one \relative c'' {
2577 \context Thread=two \relative c'' {
2583 @cindex @code{Thread_devnull_engraver}
2584 @cindex @code{Voice_engraver}
2585 @cindex @code{A2_engraver}
2587 @node Hara kiri staffs
2588 @subsection Hara kiri staffs
2590 In orchestral scores, staffs that only have rests are usually removed.
2591 This saves some space. LilyPond also supports this through the hara
2592 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2593 the Japanese Samourai warriors.} staff. This staff commits suicide when
2594 it finds itself to be empty after the line-breaking process. It will
2595 not disappear when it contains normal rests, you must use multi measure
2598 The hara kiri staff is specialized version of the Staff context. It is
2599 available as the context identifier @code{\HaraKiriStaffContext}.
2600 Observe how the second staff in this example disappears in the second
2605 \notes \relative c' <
2606 \context Staff = SA { e4 f g a \break c1 }
2607 \context Staff = SB { c4 d e f \break R1 }
2611 \translator { \HaraKiriStaffContext }
2624 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2625 staff context symbol that appears at the end of a staff line. It
2626 anticipates the pitch of the first note(s) of the following line and
2627 thus helps the player or singer to manage line breaks during
2628 performance, thus enhancing readability of a score.
2633 \property Staff.Custos \set #'style = #'mensural
2638 \consists Custos_engraver
2644 Custodes were frequently used in music notation until the 16th century.
2645 There were different appearances for different notation styles.
2646 Nowadays, they have survived only in special forms of musical notation
2647 such as via the @emph{editio vaticana} dating back to the beginning of
2650 For typesetting custodes, just put a @code{Custos_engraver} into the
2651 @code{StaffContext} when declaring the @code{\paper} block. In this
2652 block, you can also globally control the appearance of the custos symbol
2653 by setting the custos @code{style} property. Currently supported styles
2654 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2661 \consists Custos_engraver
2662 Custos \override #'style = #'mensural
2667 The property can also be set locally, for example in a @code{\notes}
2672 \property Staff.Custos \override #'style = #'vaticana
2673 c'1 d' e' d' \break c' d' e' d'
2677 @c . {Tuning output}
2679 @section Tuning output
2681 LilyPond tries to take as much formatting as possible out of your
2682 hands. Nevertheless, there are situations where it needs some help, or
2683 where you want to override its decisions. In this section we discuss
2684 ways to do just that.
2686 Formatting is internally done by manipulating so called grobs (graphic
2687 objects). Each grob carries with it a set of properties (grob
2688 properties) specific to that object. For example, a stem grob has
2689 properties that specify its direction, length and thickness.
2691 The most direct way of tuning the output is by altering the values of
2692 these properties. There are two ways of doing that: first, you can
2693 temporarily change the definition of a certain type of grob, thus
2694 affecting a whole set of objects. Second, you can select one specific
2695 object, and set a grob property in that object.
2698 * Tuning groups of grobs ::
2699 * Tuning per grob ::
2707 @node Tuning groups of grobs
2708 @subsection Tuning groups of grobs
2710 @cindex grob description
2714 A grob definition is a Scheme association list, that is stored in a
2715 context property. By assigning to that property (using plain
2716 @code{\property}), you can change the resulting grobs.
2718 @lilypond[verbatim, fragment]
2719 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2722 The @code{\property} assignment effectively empties the definition of
2723 the Stem object. One of the effects is the recipe of how it should be
2724 printed is erased, with the effect of rendering it invisible. The above
2725 assignment is available as a standard identifier, for the case that you
2729 \property Voice.Stem = \turnOff
2736 This mechanism is fairly crude, since you can only set, but not modify,
2737 the definition of a grob. For this reason, there is a more advanced
2740 The definition of a grob is actually a list of default grob
2741 properties. For example, the definition of the Stem grob (available in
2742 @file{scm/grob-description.scm}), defines the following values for
2747 (beamed-lengths . (0.0 2.5 2.0 1.5))
2748 (Y-extent-callback . ,Stem::height)
2752 You can add a property on top of the existing definition, or remove a
2753 property, thus overriding the system defaults:
2755 c'4 \property Voice.Stem \override #'thickness = #4.0
2756 c'4 \property Voice.Stem \revert #'thickness
2759 You should balance @code{\override} and @code{\revert}. If that's too
2760 much work, you can use the @code{\set} shorthand. It performs a revert
2761 followed by an override. The following example gives exactly the same
2762 result as the previous one.
2764 c'4 \property Voice.Stem \set #'thickness = #4.0
2765 c'4 \property Voice.Stem \set #'thickness = #0.8
2768 If you use @code{\set}, you must explicitly restore the default.
2771 Formally the syntax for these constructions is
2773 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2774 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2775 \property @var{context}.@var{grobname} \revert @var{symbol}
2777 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2778 and @var{grobname} are strings and @var{value} is a Scheme expression.
2781 If you revert a setting which was not set in the first place, then it
2782 has no effect. However, if the setting was set as a system default, it
2783 may remove the default value, and this may give surprising results,
2784 including crashes. In other words, @code{\override} and @code{\revert},
2785 must be carefully balanced.
2787 These are examples of correct nesting of @code{\override}, @code{\set},
2790 A clumsy but correct form:
2792 \override \revert \override \revert \override \revert
2795 Shorter version of the same:
2797 \override \set \set \revert
2800 A short form, using only @code{\set}. This requires you to know the
2803 \set \set \set \set @var{to default value}
2806 If there is no default (i.e. by default, the grob property is unset),
2809 \set \set \set \revert
2812 For the digirati, the grob description is an Scheme association
2813 list. Since a Scheme list is a singly linked list, we can treat it as a
2814 stack, and @code{\override} and @code{\revert} are just push and pop
2815 operations. This pushing and popping is also used for overriding
2816 automatic beaming settings.
2820 LilyPond will hang or crash if @var{value} contains cyclic references.
2821 The backend is not very strict in type-checking grob properties. If you
2822 @code{\revert} properties that are expected to be set by default,
2825 Some grobs are created at the moment that their context is created. An
2826 example of such a grob is the staff itself (i.e. the horizontal lines).
2827 You can not change the appearance of the staff symbol by manipulating
2828 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2829 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2830 created before any @code{\override} is effective. You can deal with this
2831 either overriding properties in a @code{\translator} definition, or by
2832 using @code{\outputproperty}.
2837 @node Tuning per grob
2838 @subsection Tuning per grob
2840 @cindex \outputproperty
2842 A second way of tuning grobs is the more arcane @code{\outputproperty}
2843 feature. The syntax is as follows:
2845 \outputproperty @var{predicate} @var{symbol} = @var{value}
2847 Here @code{predicate} is a Scheme function taking a grob argument, and
2848 returning a boolean. This statement is processed by the
2849 @code{Output_property_engraver}. It instructs the engraver to feed all
2850 grobs that it sees to @var{predicate}. Whenever the predicate returns
2851 true, the grob property @var{symbol} will be set to @var{value}.
2853 You will need to combine this statement with @code{\context} to select
2854 the appropriate context to apply this to.
2856 Here are some random examples.
2859 In the following example, all note heads occurring at current staff
2860 level, are shifted up and right by setting their @code{extra-offset}
2863 @lilypond[fragment,verbatim,singleline]
2865 \context Staff \outputproperty
2866 #(make-type-checker 'note-head-interface)
2867 #'extra-offset = #'(0.5 . 0.75)
2871 @cindex @code{extra-offset}
2873 In this example, the predicate checks the @code{text} grob property, to
2874 shift only the `m.d.' text, but not the fingering instruction "2".
2875 @lilypond[verbatim,singleline]
2876 #(define (make-text-checker text)
2877 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2880 \notes\relative c''' {
2881 \property Voice.Stem \set #'direction = #1
2882 \outputproperty #(make-text-checker "m.d.")
2883 #'extra-offset = #'(-3.5 . -4.5)
2891 If possible, avoid this feature: the semantics are not very clean, and
2892 the syntax and semantics are up for rewrite.
2898 @subsection What to tune?
2900 This all tells you how to tune grobs, but you don't know what variables
2901 to set? The question is not answered in this manual (although you may
2902 encounter some examples.).
2904 Grob properties are tied directly to the implementation of LilyPond, and
2905 they are thus a moving target. Documentation of such variables is in the
2906 automatically generated documentation. Description of properties are
2907 generated from the source code for each version. This documentation is
2908 therefore more up to date. It should be available from the same place
2909 where you got this manual.
2911 To decide how to tune a grob, you need to find the following information
2914 which grob to modify
2916 which property to modify
2918 which context the grob comes from.
2921 Included with the automatically generated documentation is a master list
2922 of grobs. Selecting a grob will take you to an overview of the
2923 properties available for that grob.
2925 There is also a master list of contexts. Selecting one takes you to an
2926 overview of that context which lists which grob types are created there.
2929 @node Font selection
2930 @subsection Font selection
2932 Most graphics in LilyPond are composed of characters of fonts. You can
2933 alter the characteristics of the font by setting certain grob
2934 properties. The mechanism that is used for this resembles La@TeX{}'s New
2935 Font Selection Scheme. Within this scheme, a font is entirely
2936 characterized by its font name.
2938 For each grob that uses fonts (in other words, each grob that supports
2939 @code{font-interface}) a font-name must be selected before it can be
2940 printed. The font name is selected by looking at a number of grob
2945 A symbol indicating the general class of the typeface. Supported are
2946 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2947 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2948 signs) and @code{typewriter}
2951 A symbol indicating the shape of the font, a finer gradation than
2952 font-family. Choices are @code{italic}, @code{caps} and @code{upright}
2955 A symbol indicating the series of the font. @code{font-series} form a
2957 than @code{font-shape}. Choices are @code{medium} and @code{bold}.
2959 @item font-relative-size
2960 A number indicating the size relative the standard size. For example,
2961 with 20pt staff height, relative size -1 corresponds to 16pt staff
2962 height, and relative size +1 corresponds to 23 pt staff height.
2964 @item font-design-size
2965 A number indicating the design size of the font.
2967 This is a feature of the Computer Modern Font: each point size has a
2968 slightly different design. Smaller design sizes are relatively wider,
2969 which enhances readability. Scalable type faces such TrueType and Adobe
2970 Type1 usually come as ``one design fits all sizes''.
2973 The name of the font, without the design size, e.g. @code{cmr},
2974 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2979 The font is selected by taking the first font that satisfies all
2980 qualifiers specified. You can override any of these fields through
2981 @code{\override} and @code{\revert}. The special value @code{*} matches
2982 any value for that qualifier.
2985 \property Lyrics.LyricText \override #'font-series = #'bold
2986 \property Lyrics.LyricText \override #'font-shape = #'*
2989 @cindex @code{font-style}
2991 There are also pre-cooked font selection qualifiers. These are selected
2992 through the grob property @code{font-style}. For example, the style
2993 @code{finger} selects family @code{number} and relative size @code{-3}.
2994 Styles available include @code{volta}, @code{finger}, @code{tuplet},
2995 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
2998 The style sheets and tables for selecting fonts are located in
2999 @file{scm/font.scm}. Refer to this file for more information.
3003 Relative size is not linked to any real size.
3005 There is no mechanism to select magnification of particular fonts,
3006 meaning that you don't have access to continuously scaled fonts. You
3007 can scale the entire output, of course, see @ref{Output scaling}.
3009 There is no style sheet provided for other fonts besides the @TeX{}
3012 @cindex font selection
3013 @cindex font magnification
3014 @cindex @code{font-interface}
3018 @subsection Text markup
3022 LilyPond has an internal mechanism to typeset texts. You can
3023 form text markup expressions by composing scheme expressions
3024 in the following way.
3026 @lilypond[verbatim, singleline]
3031 c^#'(italic "italic")
3032 d_#'((bold italic) "ff")
3034 f_#'(lines "one" (bold "two"))
3035 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3039 Normally, the Scheme markup text is stored in the @code{text} property
3040 of a grob. Formally, it is defined as follows:
3043 text: string | (head? text+)
3044 head: markup | (markup+)
3045 markup-item: property | abbrev
3046 property: (@var{key} . @var{value})
3047 abbrev: @code{columns lines roman music bold italic named super sub
3049 @code{finger volta timesig mmrest mark script large Large dynamic}
3052 The markup is broken down and converted into a list of grob properties,
3053 which are prepended to the property list. The @var{key}-@var{value}
3054 pair is a grob property. A list of properties available is included in
3055 the generated documentation for @rint{Text_interface}.
3057 The following abbreviations are currently defined:
3060 horizontal mode: set all text on one line (default)
3062 vertical mode: set every text on a new line
3066 selects the Feta font (the standard font for music notation glyphs),
3067 and uses named lookup
3074 lookup by character name
3076 plain text lookup (by character value)
3082 the next text or character overstrikes this one
3084 select fingering number fontstyle
3086 select volta number fontstyle
3088 select time signature number fontstyle
3090 select multi measure rest number fontstyle
3092 select mark number fontstyle
3094 select scriptsize roman fontstyle
3096 select large roman fontstyle
3098 select Large roman fontstyle
3100 select dynamics fontstyle
3104 @cindex metronome mark
3106 One practical application of complicated markup is to fake a metronome
3110 #(define note '(columns
3111 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3112 #(define eight-note `(columns ,note ((kern . -0.1)
3113 (music ((raise . 3.5) "flags-u3")))))
3114 #(define dotted-eight-note
3115 `(columns ,eight-note (music "dots-dot")))
3118 \notes\relative c'' {
3119 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3125 TextScript \override #'font-shape = #'upright
3131 @node Invisible grobs
3132 @subsection Invisible grobs
3133 @cindex invisible grobs
3137 ben nog steeds niet kapot van de informatiedichtheid hier.
3143 You can imagine a number of situations where you would want to make
3144 certain grobs not show up in the output. There may be aesthetic
3145 reasons, to make the output resemble an (old) manuscript as close as
3146 possible, or to make lessons or exercises for students.
3148 Grobs can be made invisible in a number of ways:
3150 Here's an example with blanked-out notes and stems:
3151 @lilypond[singleline,verbatim]
3153 \property Voice.NoteHead \override
3155 \property Voice.Stem \override
3156 #'transparent = ##t }
3159 \property Voice.NoteHead \revert #'transparent
3160 \property Voice.Stem \revert #'transparent }
3163 \notes\relative c'' {
3165 a b c b \blanknotes c \unblanknotes d
3170 A very rigorous way of removing grobs from the output is to remove the
3171 engraver that creates them. For example,
3174 \score {\notes { c'4 d'8 e'8 g2 }
3175 \paper { \translator {
3177 \remove Stem_engraver
3184 @subsection Dirty tricks
3185 @cindex embedded tex
3187 It is possible to use @TeX{} commands in the strings, but this should be
3188 avoided because this makes it impossible for LilyPond to compute the
3189 exact length of the string, which may lead to collisions. Also, @TeX{}
3190 commands won't work with direct PostScript output (see @ref{PostScript
3193 @lilypond[fragment,relative,verbatim]
3194 a''^"3 $\\times$ \\`a deux"
3197 You can also use raw PostScript commands embedded in text scripts. This
3198 offers ultimate flexibility, but requires you to learn PostScript.
3199 Currently, embedded PostScript will @strong{not} work with direct
3200 PostScript output. Note that all dimensions that you use are in staff
3205 \notes \relative c'' {
3206 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3207 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3208 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3212 \paper { linewidth = 70*\staffspace }
3219 @section Page layout
3222 The page layout is the combined product of LilyPond formatting notation,
3223 and (La)@TeX{} putting the notation on a page, including page breaks.
3224 The part of LilyPond is documented here.
3238 @subsection Paper block
3241 The most important output definition is the @code{\paper} block, for
3242 music notation. The syntax is
3245 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3248 where each of the items is one of
3251 @item An assignment.
3253 @item A context definition. See @ref{Interpretation context} for
3254 more information on context definitions.
3256 @item \stylesheet declaration. Its syntax is
3258 \stylesheet @var{alist}
3261 See @file{scm/font.scm} for details of @var{alist}.
3262 @item an @code{\elementdescriptions} declaration.
3264 \elementdescriptions @var{alist}
3266 See @file{scm/grob-description.scm} for details of
3267 @var{alist}. This command is not user-serviceable.
3271 @c . {Paper variables}
3272 @node Paper variables
3273 @subsection Paper variables
3274 @cindex Paper variables
3276 The paper block has some variables you may want to use or change:
3279 @cindex @code{indent}
3281 The indentation of the first line of music.
3282 @cindex @code{staffspace}
3284 @item @code{staffspace}
3285 The distance between two staff lines, calculated from the center
3288 @cindex @code{linewidth}
3289 @item @code{linewidth}
3290 Sets the width of the lines.
3292 If set to a negative value, a single unjustified line is produced.
3293 @c rename to singleLinePaper ?
3294 The shorthand @code{\singleLine} defines a default paper block that
3295 produces a single line.
3297 @cindex @code{textheight}
3299 @item @code{textheight}
3300 Sets the total height of the music on each page. Only used by
3303 @cindex @code{interscoreline}
3305 @item @code{interscoreline}
3306 Sets the spacing between systems.
3308 @cindex @code{interscorelinefill}
3310 @item @code{interscorelinefill}
3311 If set to a positive number, the distance between the score
3312 lines will stretch in order to fill the full page. In that
3313 case @code{interscoreline} specifies the minimum spacing.
3318 @cindex @code{stafflinethickness}
3320 @item @code{stafflinethickness}
3321 Determines the thickness of staff lines, and also acts as a scaling
3322 parameter for other line thicknesses.
3325 You may enter these dimension using units (@code{cm}, @code{in},
3326 @code{mm}, @code{pt}), or relative to another dimension
3328 linewidth = 20.0 * \staffspace
3335 @subsection Font size
3338 The Feta font provides musical symbols at six different sizes. These
3339 fonts are 11 point, 13 point, 16 point, 20 point,
3340 23 point, and 26 point. The point size of a font is the
3341 height of the five lines in a staff when displayed in the font.
3343 Definitions for these sizes are the files @file{paperSZ.ly}, where
3344 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3345 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3346 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3347 @code{paperTwentysix} are defined respectively. The default
3348 @code{\paper} block is also set.
3350 The font definitions are generated using a Scheme function. For more
3351 details, see the file @file{scm/font.scm}.
3357 @subsection Paper size
3362 @cindex @code{papersize}
3364 To change the paper size, you must first set the
3365 @code{papersize} variable at top level. Set it to
3366 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3367 specification, you must set the font as described above. If you want
3368 the default font, then use the 20 point font.
3372 \include "paper16.ly"
3375 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3376 will set the paper variables @code{hsize} and @code{vsize} (used by
3381 @subsection Line break
3384 @cindex breaking lines
3386 Line breaks are normally computed automatically. They are chosen such
3387 that the resulting spacing has low variation, and looks neither cramped
3390 Occasionally you might want to override the automatic breaks; you can do
3391 this by specifying @code{\break}. This will force a line break at this
3392 point. Do remember that line breaks can only occur at places where there
3393 are bar lines. If you want to have a line break where there is no
3394 bar line, you can force an invisible bar line by entering @code{\bar
3395 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3397 @cindex @code{\penalty}
3399 The @code{\break} and @code{\noBreak} commands are defined in terms of
3400 the penalty command:
3405 This encourages or discourages LilyPond to make a line break at this
3410 The scaling of the @code{\penalty} argument is not well-defined. The
3411 command is rather kludgey, and slated for rewriting.
3415 @subsection Page break
3418 @cindex breaking pages
3421 Page breaks are normally computed by @TeX{}, so they are not under
3422 direct control of LilyPond. However, you can insert a commands into the
3423 @file{.tex} output to instruct @TeX{} where to break pages. For more
3424 details, see the example file @file{input/test/between-systems.ly}
3428 @c . {Output scaling}
3429 @node Output scaling
3430 @subsection Output scaling
3444 There is no mechanism to select magnification of particular fonts,
3445 meaning that you don't have access to continuously scaled fonts.
3449 @c . {Output formats}
3450 @node Output formats
3451 @section Output formats
3453 LilyPond can output processed music in different output formats.
3457 * PostScript output::
3459 * ASCIIScript output::
3463 @subsection TeX output
3466 LilyPond will use @TeX{} by default. Even if you want to produce
3467 PostScript output for viewing or printing, you should normally have
3468 LilyPond produce @TeX{} first. The .tex output must be processed by
3469 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3470 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3471 used to generate the .dvi for you.
3475 Titling is not generated.
3478 @node PostScript output
3479 @subsection PostScript output
3480 @cindex PostScript output
3481 @cindex direct PostScript output
3483 LilyPond can produce PostScript directly, without going through @TeX{}.
3484 Currently, this is mainly useful if you cannot use TeX, because direct
3485 PostScript output has some problems; see Bugs below.
3488 $ lilypond -fps foo.ly
3489 GNU LilyPond 1.3.144
3490 Now processing: `foo.ly'
3492 Interpreting music...[3]
3493 Preprocessing elements...
3494 Calculating column positions...
3495 paper output to foo.ps...
3497 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3503 Text font selection is broken.
3505 The .ps file does not contain the .pfa font files. To print a .ps
3506 created through direct postscript output, you should prepend the
3507 necessary .pfa files to LilyPond's .ps output, or upload them to the
3508 printer before printing.
3510 The line height calculation is broken, you must set @var{lineheight} in
3511 the paperblock if you have more than one staff in your score, e.g.
3516 % Set line height to 40 staff spaces
3522 @subsection Scheme output
3523 @cindex Scheme output
3525 In the typesetting stage, LilyPond builds a page description, which is
3526 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3527 written, the page description is represented as Scheme expressions. You
3528 can also dump these Scheme expressions to a file, which may be
3529 convenient for debugging output routines. This done with the Scheme
3533 $ lilypond -fscm foo.ly
3534 GNU LilyPond 1.3.144
3535 Now processing: `foo.ly'
3537 Interpreting music...[3]
3538 Preprocessing elements...
3539 Calculating column positions...
3540 paper output to foo.scm...
3543 ;;; Usage: guile -s x.scm > x.tex
3544 (primitive-load-path 'standalone.scm)
3548 $ guile -s foo.scm > foo.tex
3552 @node ASCIIScript output
3553 @subsection ASCIIScript output
3554 @cindex ASCIIScript output
3555 @cindex ascii script
3558 LilyPond can output ASCII Art. This is a two step process, LilyPond
3559 produces an ASCII description file, dubbed ASCIIScript (extension
3560 @file{.as}). ASCIIScript has a small and simple command set that
3561 includes font selection, character and string printing and line drawing
3562 commands. The program @file{as2text} is used to translate an .as file
3565 To produce ASCII Art, you must include an ASCII Art paper definition
3566 file in your .ly, one of:
3568 \include "paper-as5.ly"
3569 \include "paper-as9.ly"
3572 Here's an example use for ASCII Art output (the example file
3573 @file{as-email.ly} is included in the LilyPond distribution), the staff
3574 symbol has been made invisible:
3577 $ lilypond -fas as-email.ly
3578 GNU LilyPond 1.3.144
3579 Now processing: `as-email.ly'
3581 Interpreting music...[3]
3582 Preprocessing elements...
3583 Calculating column positions... [2]
3584 paper output to as-email.as...
3586 $ as2text as-email.as 2>/dev/null
3588 |/ |##|##| | | | | |
3589 /| | | | | |\ |\ |\ |\ |\ |
3590 / |_ 3 | | | | 5 | )| )| )| )| )|
3591 | /| \ 8 * * * | 8 * * * * * |
3601 The ASCII Art fonts are far from complete and not very well designed.
3602 It's easy to change the glyphs, though; if you think you can do better,
3603 have a look at @file{mf/*.af}.
3605 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3607 The poor looks of most ASCII Art output and its limited general
3608 usefulness make that ASCII Art output has a low priority; it may be
3609 dropped in future versions.
3616 LilyPond can produce MIDI output. The performance lacks lots of
3617 interesting effects, such as swing, articulation, slurring, etc., but it
3618 is good enough for proof-hearing the music you have entered. Ties,
3619 dynamics and tempo changes are interpreted.
3621 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3622 levels. Dynamic marks translate to a fixed fraction of the available
3623 MIDI volume range, crescendi and decrescendi make the the volume vary
3624 linearly between their two extremities. The fractions be adjusted by
3625 overriding the @code{absolute-volume-alist} defined in
3626 @file{scm/midi.scm}.
3628 For each type of musical instrument (that MIDI supports), a volume range
3629 can be defined. This gives you basic equalizer control, which can
3630 enhance the quality of the MIDI output remarkably. You can add
3631 instruments and ranges or change the default settings by overriding the
3632 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3634 Both loudness controls are combined to produce the final MIDI volume.
3639 It is currently not possible to use the percussion channel (generally
3640 channel 10 of a MIDI file).
3644 * MIDI instrument names::
3649 @subsection MIDI block
3653 The MIDI block is analogous to the paper block, but it is somewhat
3654 simpler. The @code{\midi} block can contain:
3658 @item a @code{\tempo} definition
3659 @item context definitions
3662 Assignments in the @code{\midi} block are not allowed.
3666 @cindex context definition
3668 Context definitions follow precisely the same syntax as within the
3669 \paper block. Translation modules for sound are called performers.
3670 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3673 @node MIDI instrument names
3674 @subsection MIDI instrument names
3676 @cindex instrument names
3677 @cindex @code{Staff.midiInstrument}
3678 @cindex @code{Staff.instrument}
3680 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3681 property or, if that property is not set, the @code{Staff.instrument}
3682 property. The instrument name should be chosen from the list in
3683 @ref{MIDI instruments}.
3687 If the selected string does not exactly match, then LilyPond uses the
3688 default (Grand Piano). It is not possible to select an instrument by
3701 @section Music entry
3709 One of the applications of LilyPond is to enter music from existing
3710 written or printed material. When you're doing this kind of copying
3711 work, you can easily make mistakes. This section deals with tricks and
3712 features that help you enter music, and find and correct mistakes.
3716 @subsection Relative
3718 @cindex relative octave specification
3720 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3721 When you copy existing music, it is easy to accidentally put a pitch in
3722 the wrong octave and hard to find such an error. To prevent these
3723 errors, LilyPond features octave entry.
3725 @cindex @code{\relative}
3727 \relative @var{startpitch} @var{musicexpr}
3730 The octave of notes that appear in @var{musicexpr} are calculated as
3731 follows: If no octave changing marks are used, the basic interval
3732 between this and the last note is always taken to be a fourth or less
3733 (This distance is determined without regarding alterations; a
3734 @code{fisis} following a @code{ceses} will be put above the
3737 The octave changing marks @code{'} and @code{,} can be added to raise or
3738 lower the pitch by an extra octave. Upon entering relative mode, an
3739 absolute starting pitch must be specified that will act as the
3740 predecessor of the first note of @var{musicexpr}.
3742 Entering music that changes octave frequently is easy in relative mode.
3743 @lilypond[fragment,singleline,verbatim,center]
3749 And octave changing marks are used for intervals greater than a fourth.
3750 @lilypond[fragment,verbatim,center]
3752 c g c f, c' a, e'' }
3755 If the preceding item is a chord, the first note of the chord is used
3756 to determine the first note of the next chord. But other notes
3757 within the second chord are determined by looking at the immediately
3760 @lilypond[fragment,verbatim,center]
3767 @cindex @code{\notes}
3769 The pitch after the @code{\relative} contains a note name. To parse
3770 the pitch as a note name, you have to be in note mode, so there must
3771 be a surrounding @code{\notes} keyword (which is not
3774 The relative conversion will not affect @code{\transpose},
3775 @code{\chords} or @code{\relative} sections in its argument. If you
3776 want to use relative within transposed music, you must place an
3777 additional @code{\relative} inside the @code{\transpose}.
3782 @subsection Bar check
3786 @cindex @code{barCheckNoSynchronize}
3790 Whenever a bar check is encountered during interpretation, a warning
3791 message is issued if it doesn't fall at a measure boundary. This can
3792 help you find errors in the input. Depending on the value of
3793 @code{barCheckNoSynchronize}, the beginning of the measure will be
3794 relocated, so this can also be used to shorten measures.
3796 A bar check is entered using the bar symbol, @code{|}:
3798 \time 3/4 c2 e4 | g2.
3801 @c . {Point and click}
3802 @node Point and click
3803 @subsection Point and click
3805 Point and click lets you find notes in the input by clicking on them in
3806 the Xdvi window. This makes it very easy to find input that causes some
3807 error in the sheet music.
3809 To use it, you need the following software
3811 @unnumberedsubsec Installation
3815 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3816 Xdvi} version 22.36 or newer.
3818 Note that most @TeX{} distributions ship with xdvik, which is a
3819 different and less well maintained program. To find out which xdvi you
3820 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3824 Xdvi must be configured to find the TeX fonts and music
3825 fonts. Refer to the Xdvi documentation for more information.
3828 @unnumberedsubsec Using it
3830 Add one of these lines to the top of your .ly file. The first one is for
3831 line location only. The second one is more convenient, but requires
3832 patching @code{emacsclient} and @code{server.el}.
3835 #(set! point-and-click line-location)
3838 In the emacs startup file (usually @file{~/.emacs}), add the following
3843 Make sure that the environment variable @code{XEDITOR} is set
3846 emacsclient --no-wait +%l %f
3848 The second one, that also specifies the column, only works if you have
3849 patched your emacsclient and server, and have compiled your @code{.ly}
3850 file using the @code{line-column-location} setting.
3852 When viewing, control-mousebutton 1 will take you to the originating
3853 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3857 @unnumberedsubsec Column location
3859 If you want emacs to jump to the exact spot (and not just the line) on a
3860 click, you must enable column positioning. To do so, you need to patch
3861 emacsclient. Apply @file{emacsclient.patch} (included with the source
3862 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3863 source code. Recompile and stick the recompiled emacsclient into a bin
3864 directory, and put @file{server.el} into a elisp directory
3865 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3866 init file, before invoking server-start.
3869 (setq load-path (cons "~/usr/share/emacs" load-path))
3872 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3874 At the top of the @code{ly} file, replace the @code{set!} line with the
3877 #(set! point-and-click line-column-location)
3884 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3885 will complain about not finding @code{src:X:Y} files. Those complaints
3886 are harmless, and can be ignored.
3888 When using @code{line-colum-location}, the cursor will be one off; it
3889 will not jump to the exact note that you clicked, but to the next one.
3893 @node Skipping corrected music
3894 @section Skipping corrected music
3896 The property @code{Score.skipTypesetting} can be used to switch on and
3897 off typesetting completely during the interpretation phase. When
3898 typesetting is switched off, the music is processed much more quickly.
3899 You can use this to skip over the parts of a score that you have already
3902 @lilypond[fragment,singleline,verbatim]
3903 \relative c'' { c8 d
3904 \property Score.skipTypesetting = ##t
3906 \property Score.skipTypesetting = ##f
3911 @node Interpretation context
3912 @section Interpretation context
3915 * Creating contexts::
3916 * Default contexts::
3917 * Context properties::
3918 * Engravers and performers::
3919 * Changing context definitions::
3920 * Defining new contexts::
3924 Interpretation contexts are objects that only exist during a run of
3925 LilyPond. During the interpretation phase of LilyPond (when it prints
3926 "interpreting music"), the music expression in a @code{\score} block is
3927 interpreted in time order. This is the same order that humans hear and
3930 During this interpretation, the interpretation context is holds the
3931 state for the current point within the music. It contains information
3935 @item What notes are playing at this point?
3936 @item What symbols will be printed at this point?
3937 @item What is the current key signature, time signature, point within
3941 Contexts are grouped hierarchically: A @code{Voice} context is
3942 contained in a @code{Staff} context (because a staff can contain
3943 multiple voices at any point), a @code{Staff} context is contained in
3944 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
3946 Contexts associated with sheet music output are called @emph{notation
3947 contexts}, those for sound output are called @emph{performance
3951 @node Creating contexts
3952 @subsection Creating contexts
3954 @cindex @code{\context}
3955 @cindex context selection
3957 Contexts for a music expression can be selected manually, using the
3958 following music expression.
3961 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3964 This instructs lilypond to interpret @var{musicexpr} within the context
3965 of type @var{contexttype} and with name @var{contextname}. If this
3966 context does not exist, it will be created.
3968 @lilypond[verbatim,singleline]
3970 \notes \relative c'' {
3971 c4 <d4 \context Staff = "another" e4> f
3977 In this example, the @code{c} and @code{d} are printed on the
3978 default staff. For the @code{e}, a context Staff called
3979 @code{another} is specified; since that does not exist, a new
3980 context is created. Within @code{another}, a (default) Voice context
3981 is created for the @code{e4}. When all music referring to a
3982 context is finished, the context is ended as well. So after the
3983 third quarter, @code{another} is removed.
3987 @node Default contexts
3988 @subsection Default contexts
3990 Most music expressions don't need @code{\context}: they inherit the
3991 notation context from their parent. Each note is a music expression, and
3992 as you can see in the following example, only the sequential music
3993 enclosing the three notes has an explicit context.
3995 @lilypond[verbatim,singleline]
3996 \score { \notes \context Voice = goUp { c'4 d' e' } }
3999 There are some quirks that you must keep in mind when dealing with
4002 First, every top-level music is interpreted by the Score context, in other
4003 words, you may think of @code{\score} working like
4006 \context Score @var{music}
4010 Second, sequential music follows the contexts of its
4011 ``children''. Consider the following example.
4013 @lilypond[verbatim, singleline]
4014 \score { \context Score \notes { c'4 ( d' )e' } }
4017 The sequential music is interpreted by the Score context initially
4018 (notice that the @code{\context} specification is redundant), but when a
4019 note is encountered, contexts are setup to accept that note. In this
4020 case, a Thread, Voice and Staff are created. The rest of the sequential
4021 music is also interpreted with the same Thread, Voice and Staff context,
4022 putting the notes on the same staff, in the same voice.
4024 This is a convenient mechanism, but do not expect opening chords to work
4025 without @code{\context}. For every note, a separate staff is
4028 @lilypond[verbatim, singleline]
4029 \score { \notes <c'4 es'> }
4032 Of course, if the chord is preceded by a normal note in sequential
4033 music, the chord will be interpreted by the Thread of the preceding
4035 @lilypond[verbatim,singleline]
4036 \score { \notes { c'4 <c'4 es'> } }
4041 @node Context properties
4042 @subsection Context properties
4044 Notation contexts have properties. These properties are from
4045 the @file{.ly} file using the following expression:
4046 @cindex @code{\property}
4048 \property @var{contextname}.@var{propname} = @var{value}
4051 Sets the @var{propname} property of the context @var{contextname} to the
4052 specified Scheme expression @var{value}. All @var{propname} and
4053 @var{contextname} are strings, which are typically unquoted.
4055 Properties that are set in one context are inherited by all of the
4056 contained contexts. This means that a property valid for the
4057 @code{Voice} context can be set in the @code{Score} context (for
4058 example) and thus take effect in all @code{Voice} contexts.
4060 Properties can be unset using the following expression:
4062 \property @var{contextname}.@var{propname} \unset
4065 @cindex properties, unsetting
4066 @cindex @code{\unset}
4068 This removes the definition of @var{propname} in @var{contextname}. If
4069 @var{propname} was not defined in @var{contextname} (but was inherited
4070 from a higher context), then this has no effect.
4075 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4076 the inverse of @code{\property \set}.
4078 @node Engravers and performers
4079 @subsection Engravers and performers
4083 Basic building blocks of translation are called engravers; they are
4084 special C++ classes.
4088 @c . {Context definitions}
4089 @node Changing context definitions
4090 @subsection Changing context definitions
4092 @cindex context definition
4093 @cindex translator definition
4095 The most common way to define a context is by extending an existing
4096 context. You can change an existing context from the paper block, by
4097 first initializing a translator with an existing context identifier:
4101 @var{context-identifier}
4104 Then you can add and remove engravers using the following syntax:
4106 \remove @var{engravername}
4107 \consists @var{engravername}
4111 Here @var{engravername} is a string, the name of an engraver in the
4115 @lilypond[verbatim,singleline]
4119 \translator { \StaffContext
4120 \remove Clef_engraver
4126 You can also set properties in a translator definition. The syntax is as
4129 @var{propname} = @var{value}
4130 @var{propname} \set @var{grob-propname} = @var{pvalue}
4131 @var{propname} \override @var{grob-propname} = @var{pvalue}
4132 @var{propname} \revert @var{grob-propname}
4134 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4135 and @code{pvalue} are Scheme expressions. These type of property
4136 assignments happen before interpretation starts, so a @code{\property}
4137 command will override any predefined settings.
4140 To simplify editing translators, all standard contexts have standard
4141 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4142 @code{VoiceContext}.
4144 @node Defining new contexts
4145 @subsection Defining new contexts
4147 If you want to build a context from scratch, you must also supply the
4148 following extra information:
4150 @item A name, specified by @code{\name @var{contextname}}.
4152 @item A cooperation module. This is specified by @code{\type
4159 \type "Engraver_group_engraver"
4162 \consists "Staff_symbol_engraver"
4163 \consists "Note_head_engraver"
4164 \consistsend "Axis_group_engraver"
4168 The argument of @code{\type} is the name for a special engraver that
4169 handles cooperation between simple engravers such as
4170 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4171 for this engraver are the following:
4173 @cindex @code{Engraver_group_engraver}
4174 @item @code{Engraver_group_engraver}
4175 The standard cooperation engraver.
4177 @cindex @code{Score_engraver}
4179 @item @code{Score_engraver}
4180 This is cooperation module that should be in the top level context,
4181 and only the top level context.
4183 @cindex @code{Grace_engraver_group}
4185 @item @code{Grace_engraver_group}
4186 This is a special cooperation module (resembling
4187 @code{Score_engraver}) that is used to create an embedded
4194 @item @code{\alias} @var{alternate-name}
4195 This specifies a different name. In the above example,
4196 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4198 @item @code{\consistsend} @var{engravername}
4199 Analogous to @code{\consists}, but makes sure that
4200 @var{engravername} is always added to the end of the list of
4203 Some engraver types need to be at the end of the list; this
4204 insures they stay there even if a user adds or removes engravers.
4205 End-users generally don't need this command.
4207 @item @code{\accepts} @var{contextname}
4208 Add @var{contextname} to the list of context this context can
4209 contain. The first listed context is the context to create by
4212 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4213 completeness, but is never used in practice.
4216 @item @code{\name} @var{contextname}
4217 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4218 the name is not specified, the translator won't do anything.
4221 In the @code{\paper} block, it is also possible to define translator
4222 identifiers. Like other block identifiers, the identifier can only
4223 be used as the very first item of a translator. In order to define
4224 such an identifier outside of @code{\score}, you must do
4229 foo = \translator @{ @dots{} @}
4236 \translator @{ \foo @dots{} @}
4244 @cindex paper types, engravers, and pre-defined translators
4251 @c . {Syntactic details}
4252 @node Syntactic details
4253 @section Syntactic details
4254 @cindex Syntactic details
4256 This section describes details that were too boring to be put elsewhere.
4261 * Music expressions::
4262 * Manipulating music expressions::
4270 @subsection Top level
4273 This section describes what you may enter at top level.
4277 @subsubsection Score
4280 @cindex score definition
4282 The output is generated combining a music expression with an output
4283 definition. A score block has the following syntax:
4286 \score @{ @var{musicexpr} @var{outputdefs} @}
4289 @var{outputdefs} are zero or more output definitions. If none is
4290 supplied, the default @code{\paper} block will be added.
4294 @c . {Default output}
4295 @subsubsection Default output
4297 Default values for the @code{\paper} and @code{\midi} block are set by
4298 entering such a block at top-level.
4301 @subsubsection Header
4303 @cindex @code{\header}
4306 A header describes bibliographic information of the file's contents. It
4307 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4308 use this information for generating titles. Key values that are used by
4309 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4310 metre, arranger, piece and tagline.
4312 @cindex @code{ly2dvi}
4316 \header @{ @var{key1} = @var{val1}
4317 @var{key2} = @var{val2} @dots{} @}
4320 It is customary to put the @code{\header} at the top of the file.
4322 @subsubsection Default output
4324 A @code{\midi} or @code{\paper} block at top-level sets the default
4325 paper block for all scores that lack an explicit paper block.
4329 @subsection Identifiers
4332 All of the information in a LilyPond input file, is represented as a
4333 Scheme value. In addition to normal Scheme data types (such as pair,
4334 number, boolean, etc.), LilyPond has a number of specialized data types,
4341 @item Translator_def
4345 @item Music_output_def
4346 @item Moment (rational number)
4349 LilyPond also includes some transient object types. Objects of these
4350 types are built during a LilyPond run, and do not `exist' per se within
4351 your input file. These objects are created as a result of your input
4352 file, so you can include commands in the input to manipulate them,
4353 during a lilypond run.
4356 @item Grob: short for Graphical object. See @ref{Grobs}.
4357 @item Molecule: device-independent page output object,
4358 including dimensions. Produced by some Grob functions
4360 @item Translator: object that produces audio objects or Grobs. This is
4361 not yet user accessible.
4362 @item Font_metric: object representing a font. (See @ref{Font metrics})
4367 @node Music expressions
4368 @subsection Music expressions
4370 @cindex music expressions
4372 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4373 syllables are music expressions, and you can combine music expressions
4374 to form new ones, for example by enclosing a list of expressions in
4375 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4376 compound expression is formed out of the quarter note @code{c} and a
4377 quarter note @code{d}:
4380 \sequential @{ c4 d4 @}
4383 @cindex Sequential music
4384 @cindex @code{\sequential}
4385 @cindex sequential music
4388 @cindex Simultaneous music
4389 @cindex @code{\simultaneous}
4391 The two basic compound music expressions are simultaneous and
4395 \sequential @code{@{} @var{musicexprlist} @code{@}}
4396 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4398 For both, there is a shorthand:
4400 @code{@{} @var{musicexprlist} @code{@}}
4404 @code{<} @var{musicexprlist} @code{>}
4406 for simultaneous music.
4407 In principle, the way in which you nest sequential and simultaneous to
4408 produce music is not relevant. In the following example, three chords
4409 are expressed in two different ways:
4411 @lilypond[fragment,verbatim,center]
4412 \notes \context Voice {
4413 <a c'> <b d' > <c' e'>
4414 < { a b c' } { c' d' e' } >
4419 Other compound music expressions include
4422 \transpose @var{pitch} @var{expr}
4423 \apply @var{func} @var{expr}
4424 \context @var{type} = @var{id} @var{expr}
4425 \times @var{fraction} @var{expr}
4429 @c . {Manipulating music expressions}
4430 @node Manipulating music expressions
4431 @subsection Manipulating music expressions
4433 The @code{\apply} mechanism gives you access to the internal
4434 representation of music. You can write Scheme-functions that operate
4435 directly on it. The syntax is
4437 \apply #@var{func} @var{music}
4439 This means that @var{func} is applied to @var{music}. The function
4440 @var{func} should return a music expression.
4442 This example replaces the text string of a script. It also shows a dump
4443 of the music it processes, which is useful if you want to know more
4444 about how music is stored.
4446 @lilypond[verbatim,singleline]
4447 #(define (testfunc x)
4448 (if (equal? (ly-get-mus-property x 'text) "foo")
4449 (ly-set-mus-property x 'text "bar"))
4451 (ly-set-mus-property x 'elements
4452 (map testfunc (ly-get-mus-property x 'elements)))
4457 \apply #testfunc { c'4_"foo" }
4461 For more information on what is possible, see the automatically
4462 generated documentation.
4465 Directly accessing internal representations is dangerous: the
4466 implementation is subject to changes, so you should avoid this feature
4469 A final example is a function that reverses a piece of music in time:
4471 @lilypond[verbatim,singleline]
4472 #(define (reverse-music music)
4473 (let* ((elements (ly-get-mus-property music 'elements))
4474 (reversed (reverse elements))
4475 (span-dir (ly-get-mus-property music 'span-direction)))
4476 (ly-set-mus-property music 'elements reversed)
4478 (ly-set-mus-property music 'span-direction (- span-dir)))
4479 (map reverse-music reversed)
4482 music = \notes { c'4 d'4( e'4 f'4 }
4484 \score { \context Voice {
4486 \apply #reverse-music \music
4491 More examples are given in the distributed example files in
4494 @c . {Span requests}
4500 @subsubsection Span requests
4501 @cindex Span requests
4503 Notational constructs that start and end on different notes can be
4504 entered using span requests. The syntax is as follows:
4508 \spanrequest @var{startstop} @var{type}
4512 @cindex @code{\start}
4513 @cindex @code{\stop}
4515 This defines a spanning request. The @var{startstop} parameter is either
4516 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4517 describes what should be started. Much of the syntactic sugar is a
4518 shorthand for @code{\spanrequest}, for example,
4520 @lilypond[fragment,verbatim,center]
4521 c'4-\spanrequest \start "slur"
4522 c'4-\spanrequest \stop "slur"
4525 Among the supported types are @code{crescendo}, @code{decrescendo},
4526 @code{beam}, @code{slur}. This is an internal command. Users are
4527 encouraged to use the shorthands which are defined in the initialization
4528 file @file{spanners.ly}.
4533 @subsection Assignments
4536 Identifiers allow objects to be assigned to names during the parse
4537 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4538 and to refer to an identifier, you precede its name with a backslash:
4539 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4540 the input-types listed above. Identifier assignments can appear at top
4541 level in the LilyPond file, but also in @code{\paper} blocks.
4543 An identifier can be created with any string for its name, but you will
4544 only be able to refer to identifiers whose names begin with a letter,
4545 being entirely alphabetical. It is impossible to refer to an identifier
4546 whose name is the same as the name of a keyword.
4548 The right hand side of an identifier assignment is parsed completely
4549 before the assignment is done, so it is allowed to redefine an
4550 identifier in terms of its old value, e.g.
4556 When an identifier is referenced, the information it points to is
4557 copied. For this reason, an identifier reference must always be the
4558 first item in a block.
4562 \paperIdent % wrong and invalid
4566 \paperIdent % correct
4571 @c . {Lexical modes}
4573 @subsection Lexical modes
4574 @cindex Lexical modes
4577 @cindex @code{\notes}
4578 @cindex @code{\chords}
4579 @cindex @code{\lyrics}
4581 To simplify entering notes, lyrics, and chords, LilyPond has three
4582 special input modes on top of the default mode: note, lyrics and chords
4583 mode. These input modes change the way that normal, unquoted words are
4584 interpreted: for example, the word @code{cis} may be interpreted as a
4585 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4588 A mode switch is entered as a compound music expressions
4590 @code{\notes} @var{musicexpr}
4591 @code{\chords} @var{musicexpr}
4592 @code{\lyrics} @var{musicexpr}.
4595 In each of these cases, these expressions do not add anything to the
4596 meaning of their arguments. They just instruct the parser in what mode
4597 to parse their arguments. The modes are treated in more detail in
4598 @ref{Lyrics} and @ref{Chords}.
4600 Different input modes may be nested.
4604 @subsection Ambiguities
4609 The grammar contains a number of ambiguities. We hope to resolve them at
4613 @item The assignment
4618 is interpreted as the string identifier assignment. However,
4619 it can also be interpreted as making a string identifier @code{\foo}
4620 containing @code{"bar"}, or a music identifier @code{\foo}
4621 containing the syllable `bar'.
4623 @item If you do a nested repeat like
4635 then it is ambiguous to which @code{\repeat} the
4636 @code{\alternative} belongs. This is the classic if-then-else
4637 dilemma. It may be solved by using braces.
4639 @item The parser is not sophisticated enough to distinguish at the
4641 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4648 @c . {Lexical details}
4649 @node Lexical details
4650 @section Lexical details
4652 Even more boring details, now on lexical side of the input parser.
4663 * Version information::
4668 @subsection Comments
4671 @cindex block comment
4672 @cindex line comment
4676 A one line comment is introduced by a @code{%} character.
4677 Block comments are started by @code{%@{} and ended by @code{%@}}.
4678 They cannot be nested.
4681 @subsection Direct Scheme
4685 @cindex Scheme, in-line code
4688 LilyPond contains a Scheme interpreter (the GUILE library) for
4689 internal use. In some places Scheme expressions also form valid syntax:
4690 wherever it is allowed,
4694 evaluates the specified Scheme code. Example:
4696 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4698 @code{\override} expects two Scheme expressions, so there are two Scheme
4699 expressions. The first one is a symbol (@code{foobar}), the second one
4700 an integer (namely, 3).
4702 In-line scheme may be used at top level. In this case the result is
4705 Scheme is a full-blown programming language, and a full discussion is
4706 outside the scope of this document. Interested readers are referred to
4707 the website @uref{http://www.schemers.org/} for more information on
4712 @subsection Keywords
4716 Keywords start with a backslash, followed by a number of lower case
4717 alphabetic characters. These are all the keywords.
4720 apply arpeggio autochange spanrequest commandspanrequest
4721 simultaneous sequential accepts alternative bar breathe
4722 char chordmodifiers chords clef cm consists consistsend
4723 context denies duration dynamicscript elementdescriptions
4724 font grace header in lyrics key mark pitch
4725 time times midi mm name pitchnames notes outputproperty
4726 override set revert partial paper penalty property pt
4727 relative remove repeat addlyrics partcombine score
4728 script stylesheet skip textscript tempo translator
4733 @subsection Integers
4741 Formed from an optional minus sign followed by digits. Arithmetic
4742 operations cannot be done with integers, and integers cannot be mixed
4747 @cindex real numbers
4753 Formed from an optional minus sign and a sequence of digits followed
4754 by a @emph{required} decimal point and an optional exponent such as
4755 @code{-1.2e3}. Reals can be built up using the usual operations:
4756 `@code{+}', `@code{-}', `@code{*}', and
4757 `@code{/}', with parentheses for grouping.
4765 A real constant can be followed by one of the dimension keywords:
4766 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4767 points, inches and centimeters, respectively. This converts the number
4768 a number that is the internal representation of that dimension.
4776 Begins and ends with the @code{"} character. To include a @code{"}
4777 character in a string write @code{\"}. Various other backslash
4778 sequences have special interpretations as in the C language. A string
4779 that contains no spaces can be written without the quotes. Strings can
4780 be concatenated with the @code{+} operator.
4784 @subsection Main input
4787 @cindex @code{\maininput}
4789 The @code{\maininput} command is used in init files to signal that the
4790 user file must be read. This command cannot be used in a user file.
4792 @node File inclusion
4793 @subsection File inclusion
4794 @cindex @code{\include}
4796 \include @var{filename}
4799 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4800 unquoted string will not work here!) or a string identifier. The full
4801 filename including the @file{.ly} extension must be given,
4804 @node Version information
4805 @subsection Version information
4806 @cindex @code{\version}
4808 \version @var{string}
4811 Specify the version of LilyPond that a file was written for. The
4812 argument is a version string in quotes, for example @code{"1.2.0"}.
4813 This is used to detect invalid input, and to aid
4814 @code{convert-ly} a tool that automatically upgrades input files. See
4815 See @ref{convert-ly} for more information on @code{convert-ly}.
4824 @c .{Local emacs vars}
4827 @c minor-mode: font-lock
4828 @c minor-mode: outline
4829 @c outline-layout: (-1 : 0)
4830 @c outline-use-mode-specific-leader: "@c \."
4831 @c outline-primary-bullet: "{"
4832 @c outline-stylish-prefixes: nil
4833 @c outline-override-protect: t