3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
16 @macro internalsref{NAME}
17 @uref{../lilypond-internals/\NAME\.html,\NAME\}
20 @macro seeinternals{NAME}
21 See @internalsref{\NAME\}
27 @macro seeinternals{NAME}
29 @macro internalsref{NAME}
35 @c .{Reference Manual}
37 @node Reference Manual
38 @chapter Reference Manual
41 <!--- @@WEB-TITLE@@=Reference Manual --->
44 This document describes GNU LilyPond and its input format. The last
45 revision of this document was made for LilyPond 1.4.1. It supposes a
46 passing familiarity with how LilyPond input works. New users are
47 encouraged to study the tutorial first.
72 * Skipping corrected music::
73 * Interpretation context::
78 @c FIXME: Note entry vs Music entry at top level menu is confusing.
84 The most basic forms of music are notes. Notes on their own don't
85 form valid input, but for the sake of brevity we omit @code{\score}
86 blocks and @code{\paper} declarations.
92 * Chromatic alterations::
97 * Automatic note splitting ::
99 * Defining pitch names::
100 * Easy Notation note heads ::
108 A note is printed by specifying its pitch, and then its duration.
109 @lilypond[fragment,verbatim]
112 The grob for a note head is called @internalsref{NoteHead}.
119 @cindex Note specification
121 @cindex entering notes
123 The verbose syntax for pitch specification is
125 @cindex @code{\pitch}
127 \pitch @var{scmpitch}
130 @var{scmpitch} is a pitch scheme object.
132 In Note and Chord mode, pitches may be designated by names. The default
133 names are the Dutch note names. The notes are specified by the letters
134 @code{a} through @code{g} (where the octave is formed by notes ranging
135 from @code{c} to @code{b}). The pitch @code{c} is an octave below
136 middle C and the letters span the octave above that C.
138 @cindex note names, Dutch
140 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
141 name and a flat is formed by adding @code{-es}. Double sharps and double
142 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
143 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
144 both forms are accepted.
146 LilyPond has predefined sets of note names for various other languages.
147 To use them, simply include the language specific init file. For
148 example: @code{\include "english.ly"}. The available language files and
149 the names they define are:
152 Note Names sharp flat
153 nederlands.ly c d e f g a bes b -is -es
154 english.ly c d e f g a bf b -s/-sharp -f/-flat
155 deutsch.ly c d e f g a b h -is -es
156 norsk.ly c d e f g a b h -iss/-is -ess/-es
157 svenska.ly c d e f g a b h -iss -ess
158 italiano.ly do re mi fa sol la sib si -d -b
159 catalan.ly do re mi fa sol la sib si -d/-s -b
160 espanol.ly do re mi fa sol la sib si -s -b
169 The optional octave specification takes the form of a series of
170 single quote (`@code{'}') characters or a series of comma
171 (`@code{,}') characters. Each @code{'} raises the pitch by one
172 octave; each @code{,} lowers the pitch by an octave.
174 @lilypond[fragment,verbatim,center]
175 c' c'' es' g' as' gisis' ais'
178 @node Chromatic alterations
179 @subsection Chromatic alterations
181 Normally Accidentals signify that the pitch of a note differs from the
182 key signature. Normally, they are printed automatically depending, but
183 you may force accidentals in the following ways:
184 A reminder accidental
185 @cindex reminder accidental
187 can be forced by adding an exclamation mark @code{!} after the pitch. A
188 cautionary accidental,
189 @cindex cautionary accidental
190 @cindex parenthesized accidental
191 i.e., an accidental within parentheses can be obtained by adding the
192 question mark `@code{?}' after the pitch.
194 Each accidental symbol is an @internalsref{Accidental} grob. The
195 placement of accidentals is handled by
196 @internalsref{AccidentalPlacement}.
204 A rest is entered like a note, with note name `@code{r}':
206 @lilypond[singleline,verbatim]
210 The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
211 specified using @code{R}, see @ref{Multi measure rests}.
213 For polyphonic music, it can be convenient to specify the rest position
214 directly. You can do that by entering a note, with the keyword
215 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
217 @lilypond[singleline,verbatim]
227 @cindex Invisible rest
230 An invisible rest, or skip, can be entered like a note with note name
231 @code{s}, or with @code{\skip @var{duration}}:
233 @lilypond[singleline,verbatim]
237 The @code{s} syntax is only available in Note mode and Chord mode.
238 In other situations, you should use the @code{\skip} command, and it is
239 only available in Note mode and Chord mode.
241 @c FIXME: in lyrics mode, we have " " and _
243 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
244 @lilypond[singleline,verbatim]
246 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
247 \notes\relative c'' { a2 a4 a a2 a4 a }
251 The unabbreviated `@code{\skip} @var{duration}' also works outside of
254 @lilypond[singleline,verbatim]
257 { \time 4/8 \skip 2 \time 4/4 }
258 \notes\relative c'' { a2 a1 }
263 The skip command is merely a empty musical placeholder. It does not
264 produce any output, not even transparent output.
269 @subsection Durations
273 @cindex @code{\duration}
275 The syntax for a verbose duration specification is
277 \duration @var{scmduration}
279 Here, @var{scmduration} is a Scheme object of type @code{Duration}.
282 In Note, Chord, and Lyrics mode, durations may be designated by numbers
283 and dots: durations are entered as their reciprocal values. For notes
284 longer than a whole you must use identifiers.
288 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
290 r1 r2 r4 r8 r16 r32 r64 r64
296 \notes \relative c'' {
298 a1 a2 a4 a8 a16 a32 a64 a64
300 r1 r2 r4 r8 r16 r32 r64 r64
305 \remove "Clef_engraver"
306 \remove "Staff_symbol_engraver"
307 \remove "Time_signature_engraver"
308 \consists "Pitch_squash_engraver"
315 If the duration is omitted then it is set to the previous duration
316 entered. At the start of parsing a quarter note is assumed. The
317 duration can be followed by dots (`@code{.}') to obtain dotted note
321 @lilypond[fragment,verbatim,center]
327 You can alter the length of duration by a fraction @var{N/M} by
328 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
329 will not affect the appearance of the notes or rests produced.
341 A tie connects two adjacent note heads of the same pitch. The tie in
342 effect extends the length of a note. A tie is entered with @code{~}.
344 @lilypond[fragment,verbatim,center]
345 e' ~ e' <c' e' g'> ~ <c' e' g'>
348 When ties are used with chords, all note heads whose pitches match are
349 connected. Ties are indicated using the tilde symbol `@code{~}'. If
350 you try to tie together chords which have no common pitches then no
351 ties will be created.
353 If you want less ties created for a chord, you can set
354 @code{Voice.sparseTies} to true. In this case, a single tie is used
355 for every tied chord.
356 @lilypond[fragment,verbatim,center]
357 \property Voice.sparseTies = ##t
358 <c' e' g'> ~ <c' e' g'>
361 In its meaning a tie is just a way of extending a note duration, similar
362 to the augmentation dot: the following example are two ways of notating
363 exactly the same concept.
365 @lilypond[fragment, singleline]
366 \time 3/4 c'2. c'2 ~ c'4
368 Ties should not be confused with slurs, which indicate articulation,
369 and phrasing slurs, which indicate musical phrasing.
371 The name of the tie grob is @internalsref{Tie}, and it is created in the
372 @internalsref{Voice} context.
376 At present, the tie is implemented as a separate thing, temporally
377 located in between the notes.
378 Tieing only a subset of the note heads of a chord is not supported in a
379 simple way. It can be achieved by moving the tie-engraver into the Thread
380 context and turning on and off ties per Thread.
382 @node Automatic note splitting
383 @subsection Automatic note splitting
385 There is a facility for automatically converting long notes to tied
386 notes. This is done by replacing the @code{Note_heads_engraver} by the
387 @code{Completion_heads_engraver}.
389 @lilypond[verbatim,center]
391 \notes\relative c'{ \time 2/4
392 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
396 \remove "Note_heads_engraver"
397 \consists "Completion_heads_engraver"
401 This engraver splits all running notes at the bar line, and inserts
402 ties. One of the uses of this is, is to debug complex scores: if the
403 measures are not entirely filled, then the ties exactly show how much
408 Not all durations (especially those containing tuplets) can be
409 represented exactly; the engraver will not insert tuplets.
416 @cindex @code{\times}
418 Tuplets are made out of a music expression by multiplying all duration
421 @cindex @code{\times}
423 \times @var{fraction} @var{musicexpr}
426 The duration of @var{musicexpr} will be multiplied by the fraction.
427 In print, the fraction's denominator will be printed over the notes,
428 optionally with a bracket. The most common tuplet is the triplet in
429 which 3 notes have the length of 2, so the notes are 2/3 of
430 their written length:
432 @lilypond[fragment,verbatim,center]
433 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
436 The property @code{tupletSpannerDuration} specifies how long each bracket
437 should last. With this, you can make lots of tuplets while typing
438 @code{\times} only once, thus saving typing work.
440 @lilypond[fragment, relative, singleline, verbatim]
441 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
442 \times 2/3 { c'8 c c c c c }
445 The format of the number is determined by the property
446 @code{tupletNumberFormatFunction}. The default prints only the
447 denominator, but if you set it to the Scheme function
448 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
453 The typesetting of brackets and numbers is controlled by the properties
454 @code{bracket-visibility} and @code{number-visibility}. These
455 properties can either be @code{#f}, @code{#t} or @code{'if-no-beam},
456 meaning respectively off, on, and on if there is no beam.
458 @lilypond[fragment, relative, singleline, verbatim]
459 \property Voice.TupletBracket \set #'bracket-visibility = ##t
460 \times 2/3{c'8 d e} \times 2/3{d4 e8}
461 \property Voice.TupletBracket \set #'bracket-visibility = #'if-no-beam
462 \times 2/3{c d e} \times 2/3{d4 e8}
463 \property Voice.TupletBracket \set #'bracket-visibility = ##f
464 \times 2/3{c d e} \times 2/3{d4 e8}
465 \property Voice.TupletBracket \set #'number-visibility = ##f
466 \times 2/3{c d e} \times 2/3{d4 e8}
467 \property Voice.TupletBracket \set #'number-visibility = #'if-no-beam
468 \times 2/3{c d e} \times 2/3{d4 e8}
471 @cindex @code{tupletNumberFormatFunction}
472 @cindex tuplet formatting
474 Tuplet brackets are printed as @internalsref{TupletBracket} grobs in
475 the @internalsref{Voice} context.
477 @c . {Defining pitch names}
478 @node Defining pitch names
479 @subsection Defining pitch names
481 @cindex defining pitch names
482 @cindex pitch names, defining
484 Note names and chord modifiers can be customized for nationalities. The
485 syntax is as follows.
487 @cindex @code{\pitchnames}
488 @cindex @code{\chordmodifiers}
490 \pitchnames @var{scheme-alist}
491 \chordmodifiers @var{scheme-alist}
494 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers-init.ly} for
495 specific examples on how to do this.
498 @node Easy Notation note heads
499 @subsection Easy Notation note heads
501 @cindex easy notation
504 A entirely different type of note head is the "easyplay" note head: a
505 note head that includes a note name. It is used in some publications by
506 Hal-Leonard Inc. music publishers.
508 @lilypond[singleline,verbatim]
509 \include "paper23.ly"
511 \notes { c'2 e'4 f' | g'1 }
512 \paper { \translator { \EasyNotation } }
516 Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
517 probably will want to print it with magnification to make it more
518 readable, see @ref{Output scaling}.
524 If you view the result with Xdvi, then staff lines will show through the
525 letters. Printing the postscript file obtained either by using dvips or
526 the @code{-f ps} option of lilypond produces the correct result.
531 @section Staff notation
533 @cindex Staff notation
545 @subsection Key signature
550 Setting or changing the key signature is done with the @code{\key}
553 @code{\key} @var{pitch} @var{type}
556 @cindex @code{\minor}
557 @cindex @code{\major}
558 @cindex @code{\minor}
559 @cindex @code{\ionian}
560 @cindex @code{\locrian}
561 @cindex @code{\aeolian}
562 @cindex @code{\mixolydian}
563 @cindex @code{\lydian}
564 @cindex @code{\phrygian}
565 @cindex @code{\dorian}
567 Here, @var{type} should be @code{\major} or @code{\minor} to get
568 @var{pitch}-major or @var{pitch}-minor, respectively.
569 The standard mode names @code{\ionian},
570 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
571 @code{\phrygian}, and @code{\dorian} are also defined.
573 This command sets the context property @code{Staff.keySignature}.
574 Non-standard key signatures can be specified by setting this property
577 The printed signature is a @internalsref{KeySignature} grob, typically
578 created in @internalsref{Staff} context.
580 @cindex @code{keySignature}
587 The clef can be set or changed with the @code{\clef} command:
588 @lilypond[fragment,verbatim]
589 \key f\major c''2 \clef alto g'2
592 Supported clef-names include
593 @c Moved standard clefs to the top /MB
595 @item treble, violin, G, G2
604 G clef on 1st line, so-called French violin clef
619 By adding @code{_8} or @code{^8} to the clef name, the clef is
620 transposed one octave down or up, respectively. Note that you have to
621 enclose @var{clefname} in quotes if you use underscores or digits in the
627 The grob for this symbol is @internalsref{Clef}.
630 The full syntax for this command is
634 where @var{clefname} is a string. This command is a shortcut for
636 \property Staff.clefGlyph = @var{glyph associated with clefname}
637 \property Staff.clefPosition = @var{clef Y-position for clefname}
638 \property Staff.centralCPosition = @var{position for central C}
639 \property Staff.clefOctavation = @var{extra transposition of clefname}
641 Upon any change in these properties lilypond creates a clef
642 symbol. The mapping from @var{clefname} to the property values can be
643 found in @file{scm/clef.scm}
649 @c . {Time signature}
651 @subsection Time signature
652 @cindex Time signature
656 The time signature is set or changed by the @code{\time}
658 @lilypond[fragment,verbatim]
659 \time 2/4 c'2 \time 3/4 c'2.
662 The actual symbol that's printed can be customized with the style
664 @lilypond[fragment, verbatim, singleline]
666 \property Staff.TimeSignature \override #'style = #'C
668 \property Staff.TimeSignature \override #'style = #'()
670 \property Staff.TimeSignature \override #'style = #'C
674 The grob for this symbol is @internalsref{TimeSignature}. There are
675 many more options for its layout. They are selected through the
676 @code{style} grob property. See @file{input/test/time.ly} for more
680 The full syntax for this command is
682 \time @var{n}@code{/}@var{d}
684 where @var{n} and @var{d} are integers. This command is internally
685 translated, to the following:
687 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
688 \property Score.beatLength = #(make-moment 1 @var{d})
689 \property Score.measureLength = #(make-moment @var{n} @var{d})
692 The property @code{timeSignatureFraction} determine where bar lines
693 should be inserted, and how automatic beams should be generated.
694 Changing the value of @code{timeSignatureFraction} also causes a
695 fraction to be printed.
702 @cindex partial measure
703 @cindex measure, partial
704 @cindex shorten measures
705 @cindex @code{\partial}
707 Partial measures, for example in upbeats, are entered using the
708 @code{\partial} command:
709 @lilypond[fragment,verbatim]
710 \partial 4* 5/16 c'16 c8. f16 a'2. ~ a'8. a'16 | g'1
713 The syntax for this command is
715 \partial @var{duration}
717 This is internally translated into
719 \property Score.measurePosition = -@var{length of duration}
722 The property @code{measurePosition} contains a rational number
723 indicating how much of the measure has passed at this point.
726 @node Unmetered music
727 @subsection Unmetered music
729 Bar lines and bar numbers are calculated automatically. For unmetered
730 music (e.g. cadenzas), this is not desirable. The property
731 @code{Score.timing} can be used to switch off this automatic timing
733 @lilypond[fragment,relative,singleline,verbatim]
735 \property Score.timing = ##f
737 \property Score.timing = ##t
741 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
748 @subsection Bar lines
752 @cindex measure lines
755 Bar lines are inserted automatically by, but if you need a special
756 types of barline, you can force one using the @code{\bar} command:
757 @lilypond[fragment,verbatim]
761 The following bar types are available
762 @lilypond[fragment, relative, singleline, verbatim]
774 You are encouraged to use @code{\repeat} for repetitions. See
777 In scores with many staffs, the barlines are automatically placed at
778 top level, and they are connected between different staffs of a
779 @internalsref{StaffGroup}:
780 @lilypond[fragment, verbatim]
781 < \context StaffGroup <
782 \context Staff = up { e'4 d'
785 \context Staff = down { \clef bass c4 g e g } >
786 \context Staff = pedal { \clef bass c2 c2 } >
789 The grobs that are created at @internalsref{Staff} level. The name is
790 @internalsref{BarLine}.
792 The full syntax for this command is
796 where @var{bartype} is a string. This is a shortcut for doing
798 \property Score.whichBar = @var{bartype}
802 @cindex Bar_line_engraver
804 @cindex repeatCommands
805 @cindex defaultBarType
807 Whenever @code{whichBar} is set to a string, a bar line of that type is
808 created. @code{whichBar} is usually set automatically: at the start of
809 a measure it is set to @code{defaultBarType}. The contents of
810 @code{repeatCommands} is used to override default measure bars.
812 @code{whichBar} can also be set directly, using @code{\property} or
813 @code{\bar }. These settings take precedence over the automatic
814 @code{whichBar} settings.
821 Polyphonic parts, i.e. parts with more than one voice on a staff can be
822 typeset with LilyPond.
824 The easiest way to enter such fragments, is the Scheme function
825 @code{voicify-music}. It will split chords using the separator
826 @code{\\}, to make multiple voices. You can use it for small,
827 short-lived voices (make a chord of voices) or for single chords:
829 @lilypond[verbatim,fragment]
830 \context Voice = VA \apply #voicify-music \relative c'' {
831 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
835 The function @code{voicify-music} instantiates @internalsref{Voice}
836 contexts, bearing the names @code{"1"}, @code{"2"}, etc.
838 To explicity typeset polyphonic music, instantiate a separate Voice
839 context for each part, and use @code{\voiceOne}, up to
840 @code{\voiceFour} to assign a stem directions and horizontal shift for
844 @lilypond[singleline, verbatim]
846 \context Staff < \context Voice = VA { \voiceOne cis2 b }
847 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
848 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
851 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
852 ties, slurs and stems, and set shift directions.
854 If you want more than four voices, you can also manually set
855 horizontal shifts and stem directions, as is shown in the following example:
856 @lilypond[fragment, verbatim]
857 \context Staff \notes\relative c''<
864 \context Voice=three {
865 \shiftOnn \stemUp ais
867 \context Voice=four {
868 \shiftOnnn \stemUp fis
874 Normally, note heads with a different number of dots are not merged, but
875 if you set the grob property @code{merge-differently-dotted}, they are:
876 @lilypond[verbatim,fragment,singleline]
877 \apply #voicify-music < {
879 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
881 } \\ { [g'8. f16] [g'8. f'16] }
885 Similarly, you can merge half note heads with eighth notes, by setting
886 @code{merge-differently-headed}:
887 @lilypond[fragment, relative=2,verbatim]
888 \apply #voicify-music < {
890 \property Staff.NoteCollision
891 \override #'merge-differently-headed = ##t
892 c8 c4. } \\ { c2 c2 } >
895 LilyPond also vertically shifts rests that are opposite of a stem.
897 @lilypond[singleline,fragment,verbatim]
898 \apply #voicify-music <
903 Note head collisions (horizontal shifting of note heads) are handled by
904 the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
905 handles vertical shifting of rests.
911 Resolving collisions is a very intricate subject, and LilyPond only
912 handles a few situations. When it can not cope, you are advised to use
913 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
914 rests to override typesetting decisions.
919 Beams are used to group short notes into chunks that are aligned with
920 the metrum. They are inserted automatically in most cases.
922 @lilypond[fragment,verbatim, relative=2]
923 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
926 If you're not satisfied with the automatic beaming, you can enter the
927 beams explicitly. If you have beaming patterns that differ from the
928 defaults, you can also set the patterns for automatic beamer.
930 The beam symbol is @internalsref{Beam} in @internalsref{Voice}
931 context, both for automatically created and manual beams.
934 @cindex Automatic beams
935 @subsection Manual beams
936 @cindex beams, manual
940 In some cases it may be necessary to override LilyPond's automatic
941 beaming algorithm. For example, the auto beamer will not beam over
942 rests or bar lines, If you want that, specify the begin and end point
943 manually using a @code{[} before the first beamed note and a @code{]}
946 @lilypond[fragment,relative,verbatim]
948 r4 [r8 g' a r8] r8 [g | a] r8
952 @cindex @code{stemLeftBeamCount}
954 Normally, beaming patterns within a beam are determined automatically.
955 When this mechanism fouls up, the properties
956 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
957 be used to control the beam subdivision on a stem. If you set either
958 property, it's value will be used only once, and then it is erased.
960 @lilypond[fragment,relative,verbatim]
963 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
966 @cindex @code{stemRightBeamCount}
969 TODO: FIXME, we don't want this doc here.
971 can be tweaked through
972 grob-property @code{positions}. The value is a pair.
973 specify vertical location of the left and right end point. Both are
974 measured in half staff-spaces, and the middle staff line is the value
977 @li lypond[fragment,relative,verbatim]
978 \property Voice.Beam \set #'position = #
979 \property Voice.Beam \set #'height = #0
983 Here's how you'd specify a weird looking beam that instead of being
984 horizontal, falls two staff spaces:
990 @li lypond[fragment,relative,verbatim]
991 \property Voice.Beam \set #'staff-position = #4
992 \property Voice.Beam \set #'height = #-4
999 Kneed beams are inserted automatically, when a large gap between two
1000 adjacent beamed notes is detected. This behavior can be tuned through
1001 the grob property @code{auto-knee-gap}.
1003 @cindex beams, kneed
1005 @cindex auto-knee-gap
1009 @c TODO -> why this ref? Document?
1010 @cindex @code{neutral-direction}
1014 Auto knee beams can not be used together with hara kiri staffs.
1018 * Setting automatic beam behavior ::
1021 @node Beam typography
1022 @subsection Beam typography
1024 One of the strong points of LilyPond is how beams are formatted. Beams
1025 are quantized, meaning that the left and right endpoints beams start
1026 exactly on staff lines. Without quantization, small wedges of white
1027 space appear between the beam and staff line, and this looks untidy.
1029 Beams are also slope-damped: melodies that go up or down should also
1030 have beams that go up or down, but the slope of the beams should be
1031 less than the slope of the notes themselves.
1033 Some beams should be horizontal. These are so-called concave beams.
1035 [TODO: some pictures.]
1038 @c . {Automatic beams}
1039 @node Setting automatic beam behavior
1040 @subsection Setting automatic beam behavior
1042 @cindex @code{autoBeamSettings}
1043 @cindex @code{(end * * * *)}
1044 @cindex @code{(begin * * * *)}
1045 @cindex automatic beams, tuning
1046 @cindex tuning automatic beaming
1048 In normal time signatures, automatic beams can start on any note but can
1049 only end in a few positions within the measure: beams can end on a beat,
1050 or at durations specified by the properties in
1051 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1052 are defined in @file{scm/auto-beam.scm}.
1054 The value of @code{autoBeamSettings} is changed using
1055 @code{\override} and unset using @code{\revert}:
1057 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1058 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1060 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1061 whether the rule applies to begin or end-points. The quantity
1062 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1063 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1064 signature (wildcards, `@code{* *}' may be entered to designate all time
1067 For example, if you want automatic beams to end on every quarter note,
1068 you can use the following:
1070 \property Voice.autoBeamSettings \override
1071 #'(end * * * *) = #(make-moment 1 4)
1073 Since the duration of a quarter note is 1/4 of a whole note, it is
1074 entered as @code{(make-moment 1 4)}.
1076 The same syntax can be used to specify beam starting points. In this
1077 example, automatic beams can only end on a dotted quarter note.
1079 \property Voice.autoBeamSettings \override
1080 #'(end * * * *) = #(make-moment 3 8)
1082 In 4/4 time signature, this means that automatic beams could end only on
1083 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1084 3/8 has passed within the measure).
1086 You can also restrict rules to specific time signatures. A rule that
1087 should only be applied in @var{N}/@var{M} time signature is formed by
1088 replacing the second asterisks by @var{N} and @var{M}. For example, a
1089 rule for 6/8 time exclusively looks like
1091 \property Voice.autoBeamSettings \override
1092 #'(begin * * 6 8) = ...
1095 If you want a rule to apply to certain types of beams, you can use the
1096 first pair of asterisks. Beams are classified according to the shortest
1097 note they contain. For a beam ending rule that only applies to beams
1098 with 32nd notes (and no shorter notes), you would use @code{(end 1
1102 @c Automatic beams can not be put on the last note in a score.
1104 If a score ends while an automatic beam has not been ended and is still
1105 accepting notes, this last beam will not be typeset at all.
1107 @cindex automatic beam generation
1109 @cindex @code{Voice.autoBeaming}
1112 For melodies that have lyrics, you may want to switch off
1113 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1119 It is not possible to specify beaming parameters for beams with mixed
1120 durations, that differ from the beaming parameters of all separate
1121 durations, i.e., you'll have to specify manual beams to get:
1122 @lilypond[fragment,singleline,relative]
1123 \property Voice.autoBeamSettings
1124 \override #'(end * * * *) = #(make-moment 3 8)
1125 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1128 It is not possible to specify beaming parameters that act differently in
1129 different parts of a measure. This means that it is not possible to use
1130 automatic beaming in irregular meters such as @code{5/8}.
1133 @node Expressive marks
1134 @section Expressive marks
1149 A slur indicates that notes are to be played bound or @emph{legato}.
1150 They are entered using parentheses:
1152 @lilypond[fragment,verbatim,center]
1153 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1157 Slurs avoid crossing stems, and are generally attached to note heads.
1158 However, in some situations with beams, slurs may be attached to stem
1159 ends. If you want to override this layout you can do this through the
1160 grob-property @code{attachment} of @internalsref{Slur} in
1161 @internalsref{Voice} context It's value is a pair of symbols, specifying
1162 the attachment type of the left and right end points.
1164 @lilypond[fragment,relative,verbatim]
1166 \property Voice.Stem \set #'length = #5.5
1168 \property Voice.Slur \set #'attachment = #'(stem . stem)
1172 If a slur would strike through a stem or beam, the slur will be moved
1173 away upward or downward. If this happens, attaching the slur to the
1174 stems might look better:
1176 @lilypond[fragment,relative,verbatim]
1179 \property Voice.Slur \set #'attachment = #'(stem . stem)
1184 Similarly, the curvature of a slur is adjusted to stay clear of note
1185 heads and stems. When that would increase the curvature too much, the
1186 slur is reverted to its default shape. The threshold for this decision
1187 is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
1188 related to the enclosed area between the slur and the notes. Usually,
1189 the default setting works well, but in some cases you may prefer a
1190 curved slur when LilyPond decides for a vertically moved one. You can
1191 indicate this preference by increasing the @code{beautiful} value:
1193 @lilypond[verbatim,singleline,relative]
1195 c16( a' f' a a f a, )c,
1196 c( a' f' a a f d, )c
1197 \property Voice.Slur \override #'beautiful = #5.0
1198 c( a' f' a a f d, )c
1203 Producing nice slurs is a difficult problem, and LilyPond currently
1204 uses a simple, empiric method to produce slurs. In some cases, the
1205 results of this method don't look too good. This is reflected by the
1206 @code{beautiful} parameter. It is an arbitrary parameter in the slur
1207 formatter. Useful values can only be determined by trial and error.
1209 @cindex Adjusting slurs
1211 @node Phrasing slurs
1212 @subsection Phrasing slurs
1214 @cindex phrasing slurs
1215 @cindex phrasing marks
1217 A phrasing slur (or phrasing mark) connects chords and is used to
1218 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1221 @lilypond[fragment,verbatim,center,relative]
1222 \time 6/4 c' \( ( d ) e f ( e ) \) d
1225 Typographically, the phrasing slur behaves almost exactly like a normal
1226 slur. The grob associated with it is @internalsref{PhrasingSlur}, in
1227 @internalsref{Voice} context.
1230 @subsection Breath marks
1232 Breath marks are entered using @code{\breathe}. The result is a
1233 @internalsref{BreathingSign} grob in @internalsref{Voice} context.
1235 @lilypond[fragment,relative]
1244 @cindex beats per minute
1245 @cindex metronome marking
1247 Metronome settings can be entered as follows:
1249 @cindex @code{\tempo}
1251 \tempo @var{duration} = @var{perminute}
1254 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1259 The tempo setting is not printed, but is only used in the MIDI
1260 output. You can trick lily into producing a metronome mark,
1261 though. Details are in @ref{Text markup}.
1266 @subsection Text spanners
1267 @cindex Text spanners
1269 Some textual indications, e.g. rallentando or accelerando, often extend
1270 over many measures. This is indicated by following the text with a
1271 dotted line. You can create such texts using text spanners. The syntax
1274 \spanrequest \start "text"
1275 \spanrequest \stop "text"
1277 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1278 in @internalsref{Voice} context). The string to be printed, as well as the
1279 style is set through grob properties.
1281 An application---or rather, a hack---is to fake octavation indications.
1282 @lilypond[fragment,relative,verbatim]
1283 \relative c' { a''' b c a
1284 \property Voice.TextSpanner \set #'type = #'dotted-line
1285 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1286 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1287 \property Staff.centralCPosition = #-13
1288 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1307 @subsection Articulations
1308 @cindex Articulations
1310 @cindex articulations
1314 A variety of symbols can appear above and below notes to indicate
1315 different characteristics of the performance. They are added to a note
1316 by adding @code{-}@var{script}
1317 @lilypond[singleline]
1319 \notes \context Voice {
1320 \property Voice.TextScript \set #'font-family = #'typewriter
1321 \property Voice.TextScript \set #'font-shape = #'upright
1327 c''4-^_"c-\\^{ }" s4
1332 The script is automatically placed, but if you need to force
1333 directions, you can use @code{_} to force them down, or @code{^} to
1335 @lilypond[fragment, verbatim]
1340 Other symbols can be added using the syntax
1341 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1342 using @code{^} and @code{_}.
1346 \property Score.LyricSyllable \override #'font-family =#'typewriter
1347 \property Score.LyricSyllable \override #'font-shape = #'upright
1348 \context Staff \notes {
1349 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1350 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1351 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1352 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1353 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1354 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1355 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1356 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1358 \context Lyrics \lyrics {
1359 accent__ marcato__ staccatissimo__ fermata
1360 stopped__ staccato__ tenuto__ upbow
1361 downbow__ lheel__ rheel__ ltoe
1362 rtoe__ turn__ open__ flageolet
1363 reverseturn__ trill__ prall__ mordent
1364 prallprall__ prallmordent__ uprall__ downprall
1365 upmordent__ downmordent__ pralldown__ prallup__
1366 lineprall__ thumb__ segno__ coda
1370 linewidth = 5.875\in
1379 Fingering instructions can also be entered in this shorthand. For
1380 finger changes, use markup texts:
1382 @lilypond[verbatim, singleline, fragment]
1383 c'4-1 c'4-2 c'4-3 c'4-4
1388 @cindex @code{\script}
1393 Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
1397 All of these note ornaments appear in the printed output but have no
1398 effect on the MIDI rendering of the music.
1400 Unfortunately, there is no support for adding fingering instructions or
1401 ornaments to individual note heads. Some hacks exist, though. See
1402 @file{input/test/script-horizontal.ly}.
1407 @subsection Text scripts
1408 @cindex Text scripts
1410 In addition, it is possible to place arbitrary strings of text or markup
1411 text (see @ref{Text markup}) above or below notes by using a string:
1414 By default, these indications do not influence the note spacing, but
1415 by using the command @code{\fatText}, the widths will be taken into
1418 @lilypond[fragment,singleline,verbatim] \relative c' {
1419 c4^"longtext" \fatText c4_"longlongtext" c4 }
1422 Text scripts are created in form of @internalsref{TextScript} grobs, in
1423 @internalsref{Voice} context.
1425 @ref{Text markup} describes how to change the font or access
1426 special symbols in text scripts.
1429 @node Adding scripts
1430 @subsection Adding scripts
1432 TODO: should junk this subsect?
1434 You can add scripts by editing @file{scm/script.scm} and
1435 @file{ly/script-init.ly}. This file contains a table, listing script
1436 definitions and aliases. The following syntax accesses a script
1437 definition from the table:
1443 Usually the @code{\script} keyword is not used directly. Various
1444 helpful identifier definitions appear in @file{script.ly}.
1449 @subsection Grace notes
1454 @cindex @code{\grace}
1457 @cindex @code{graceAlignPosition}
1460 Grace notes are ornaments that are written out, but do not take up any
1461 logical time in a measure. LilyPond has limited support for grace notes.
1462 The syntax is as follows.
1464 \grace @var{musicexpr}
1467 Unbeamed eighth notes and shorter by default have a slash through the
1470 @lilypond[fragment,verbatim]
1471 \relative c'' \context Voice {
1472 \grace c8 c4 \grace { [c16 c16] } c4
1474 \property Voice.Stem \override #'flag-style = #'()
1476 \property Voice.Stem \revert #'flag-style
1481 A grace note expression has duration 0; the next real note is assumed to
1482 be the main note. If you want the note to appear after the main note,
1483 set @code{Voice.graceAlignPosition} to @code{1}.
1487 Nesting @code{\grace} notes is not supported. The following may cause
1488 run-time errors: @example
1489 @code{\grace @{ \grace c32 c16 @} c4}
1491 Since the meaning of such a construct is unclear, we don't consider this
1492 a loss. Similarly, juxtaposing two @code{\grace} sections is
1493 syntactically valid, but makes no sense and may cause runtime errors.
1494 Ending a staff or score with grace notes may also generate a run-time
1495 error, since there will be no main note to attach the grace notes to.
1506 @subsection Glissando
1509 @cindex @code{\glissando}
1511 A glissando line (grob @internalsref{Glissando}) can be requested by
1512 attaching a @code{\glissando} to a notte:
1514 @lilypond[fragment,relative,verbatim]
1520 Printing of an additional text (such as @emph{gliss.}) must be done
1527 @subsection Dynamics
1540 @cindex @code{\ffff}
1550 Absolute dynamic marks are specified using an identifier after a
1551 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1552 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1553 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1554 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1556 @lilypond[verbatim,singleline,fragment,relative]
1557 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1563 @cindex @code{\decr}
1564 @cindex @code{\rced}
1570 A crescendo mark is started with @code{\cr} and terminated with
1571 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1572 started with @code{\decr} and terminated with @code{\rced}. There are
1573 also shorthands for these marks. A crescendo can be started with
1574 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1575 can be terminated with @code{\!}. Note that @code{\!} must go before
1576 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1577 after the last note. Because these marks are bound to notes, if you
1578 want several marks during one note, you have to use spacer notes.
1580 @lilypond[fragment,verbatim,center]
1581 c'' \< \! c'' d'' \decr e'' \rced
1582 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1585 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1586 is an example how to do it:
1591 @lilypond[fragment,relative,verbatim]
1593 \property Voice.crescendoText = "cresc."
1594 \property Voice.crescendoSpanner = #'dashed-line
1599 For everyday use, we recommend the identifiers @code{\cresc},
1600 @code{endcresc}, @code{\dim} and @code{\enddim}.
1604 Dynamics are grobs of @internalsref{DynamicText} and
1605 @internalsref{Hairpin}. Vertical positioning of these symbols is handled
1606 by the @internalsref{DynamicLineSpanner} grob. If you want to adjust
1607 padding or vertical direction of the dynamics, you must set properties
1608 for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers
1609 to set the vertical direction are \dynamicUp and \dynamicDown.
1611 @cindex direction, of dynamics
1612 @cindex @code{\dynamicDown}
1613 @cindex @code{\dynamicUp}
1621 @cindex @code{\repeat}
1623 To specify repeats, use the @code{\repeat} keyword. Since repeats
1624 should work differently when played or printed, there are a few
1625 different variants of repeats.
1629 Repeated music is fully written (played) out. Useful for MIDI
1630 output, and entering repetitive music.
1633 This is the normal notation: Repeats are not written out, but
1634 alternative endings (voltas) are printed, left to right.
1637 Alternative endings are written stacked. This has limited use but may be
1638 used to typeset two lines of lyrics in songs with repeats, see
1639 @file{input/star-spangled-banner.ly}.
1645 Make beat or measure repeats. These look like percent signs.
1651 * Repeats and MIDI::
1652 * Manual repeat commands::
1654 * Tremolo subdivisions::
1659 @subsection Repeat syntax
1661 The syntax for repeats is
1664 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1667 If you have alternative endings, you may add
1668 @cindex @code{\alternative}
1670 \alternative @code{@{} @var{alternative1}
1672 @var{alternative3} @dots{} @code{@}}
1674 where each @var{alternative} is a music expression.
1676 Normal notation repeats are used like this:
1677 @lilypond[fragment,verbatim]
1679 \repeat volta 2 { c'4 d' e' f' }
1680 \repeat volta 2 { f' e' d' c' }
1683 With alternative endings:
1684 @lilypond[fragment,verbatim]
1686 \repeat volta 2 {c'4 d' e' f'}
1687 \alternative { {d'2 d'} {f' f} }
1690 Folded repeats look like this:
1693 @lilypond[fragment,verbatim]
1695 \repeat fold 2 {c'4 d' e' f'}
1696 \alternative { {d'2 d'} {f' f} }
1700 If you don't give enough alternatives for all of the repeats, then
1701 the first alternative is assumed to be repeated often enough to equal
1702 the specified number of repeats.
1704 @lilypond[fragment,verbatim]
1708 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1709 \alternative { { g4 g g } { a | a a a a | b2. } }
1714 @node Repeats and MIDI
1715 @subsection Repeats and MIDI
1717 @cindex expanding repeats
1719 For instructions on how to unfoldi repeats for MIDI output, see
1720 the example file @file{input/test/unfold-all-repeats.ly}.
1725 Notice that timing information is not remembered at the start of an
1726 alternative, so you have to reset timing information after a repeat,
1727 e.g. using a bar-check (See @ref{Bar check}), setting
1728 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1729 are also not repeated.
1731 It is possible to nest @code{\repeat}s, although this probably is only
1732 meaningful for unfolded repeats.
1734 Folded repeats offer little more over simultaneous music. However, it
1735 is to be expected that more functionality -- especially for the MIDI
1736 backend -- will be implemented at some point in the future.
1738 Volta repeats are printed over all staves in a score. You must turn them
1739 off explicitly, for example by doing
1741 \property Staff.VoltaBracket = \turnOff
1743 in all but the top staff.
1745 @node Manual repeat commands
1746 @subsection Manual repeat commands
1748 @cindex @code{repeatCommands}
1750 The property @code{repeatCommands} can be used to control the layout of
1751 repeats. Its value is a Scheme list of repeat commands, where each repeat
1759 @item (volta . @var{text})
1760 Print a volta bracket saying @var{text}.
1762 Stop a running volta bracket
1765 @lilypond[verbatim, fragment]
1767 \property Score.repeatCommands = #'((volta "93") end-repeat)
1769 \property Score.repeatCommands = #'((volta #f))
1774 Repeats brackets are @internalsref{VoltaBracket} grobs.
1776 @node Tremolo repeats
1777 @subsection Tremolo repeats
1778 @cindex tremolo beams
1780 To place tremolo marks between notes, use @code{\repeat} with tremolo
1782 @lilypond[verbatim,center,singleline]
1784 \context Voice \notes\relative c' {
1785 \repeat "tremolo" 8 { c16 d16 }
1786 \repeat "tremolo" 4 { c16 d16 }
1787 \repeat "tremolo" 2 { c16 d16 }
1788 \repeat "tremolo" 4 c16
1793 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
1794 @internalsref{StemTremolo}.
1799 At present, the spacing between tremolo beams is not regular, since the
1800 spacing engine does not notice that not all notes are printed.
1802 @node Tremolo subdivisions
1803 @subsection Tremolo subdivisions
1804 @cindex tremolo marks
1805 @cindex @code{tremoloFlags}
1807 Tremolo marks can be printed on a single note by adding
1808 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1809 A @var{length} value of 8 gives one line across the note stem. If the
1810 length is omitted, then then the last value (stored in
1811 @code{Voice.tremoloFlags}) is used.
1813 @lilypond[verbatim,fragment,center]
1814 c'2:8 c':32 | c': c': |
1820 Tremolos in this style do not carry over into the MIDI output.
1823 @node Measure repeats
1824 @subsection Measure repeats
1826 @cindex percent repeats
1827 @cindex measure repeats
1829 In the @code{percent} style, a note pattern can be repeated. It is
1830 printed once, and then the pattern is replaced with a special sign.
1831 Patterns of a one and two measures are replaced by percent-like signs,
1832 patterns that divide the measure length are replaced by slashes.
1834 @lilypond[verbatim,singleline]
1835 \context Voice { \repeat "percent" 4 { c'4 }
1836 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1840 The signs are represented by these grobs: @internalsref{RepeatSlash} and
1841 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
1845 You can not nest percent repeats, e.g. by filling in the first measure
1846 with slashes, and repeating that measure with percents.
1848 @node Rhythmic music
1849 @section Rhythmic music
1856 @node Rhythmic staves
1857 @subsection Rhythmic staves
1859 Sometimes you might want to show only the rhythm of a melody. This can
1860 be done with the rhythmic staff. All pitches of notes on such a staff
1861 are squashed, and the staff itself looks has a single staff line:
1863 @lilypond[fragment,relative,verbatim]
1864 \context RhythmicStaff {
1866 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1873 @section Piano music
1875 Piano music is an odd type of notation. Piano staves are two normal
1876 staves coupled with a brace. The staves are largely independent, but
1877 sometimes voices can cross between the two staves. The
1878 @internalsref{PianoStaff} is especially built to handle this cross-staffing
1879 behavior. In this section we discuss the @internalsref{PianoStaff} and some
1880 other pianistic peculiarities.
1883 * Automatic staff changes::
1884 * Manual staff switches::
1887 * Voice follower lines::
1891 @c . {Automatic staff changes}
1892 @node Automatic staff changes
1893 @subsection Automatic staff changes
1894 @cindex Automatic staff changes
1896 Voices can switch automatically between the top and the bottom
1897 staff. The syntax for this is
1899 \autochange @var{contexttype} \context @var{childcontexttype}
1903 This will switch the interpretation context of @var{musicexp} between
1904 a @var{contexttype} named @code{up} and @code{down}. Typically, you
1905 use @internalsref{Staff} for @var{contexttype}, and
1906 @internalsref{Voice} for @var{childcontexttype}. The autochanger
1907 switches on basis of pitch (central C is the turning point), and it
1908 looks ahead skipping over rests to switch rests in advance.
1910 @lilypond[verbatim,singleline]
1911 \score { \notes \context PianoStaff <
1912 \context Staff = "up" {
1913 \autochange Staff \context Voice = VA < \relative c' {
1914 g4 a b c d r4 a g } > }
1915 \context Staff = "down" {
1921 Note how spacer rests are used to prevent the bottom staff from
1922 terminating too soon.
1925 @node Manual staff switches
1926 @subsection Manual staff switches
1928 @cindex manual staff switches
1929 @cindex staff switch, manual
1931 Voices can be switched between staves manually, using the following command:
1933 \translator Staff = @var{staffname} @var{music}
1935 The string @var{staffname} is the name of the staff. It switches the
1936 current voice from its current staff to the Staff called
1937 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1940 The formal definition of this construct is obtuse, but for the sake of
1941 completeness we give it here.
1942 @cindex @code{\translator}
1944 \translator @var{contexttype} = @var{name}
1946 Formally, this construct is a music expression indicating
1947 that the context which is a direct child of the context of type
1948 @var{contexttype} should be shifted to a context of type
1949 @var{contexttype} and the specified name.
1957 Piano pedal instruction can be expressed using
1958 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1959 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1961 These identifiers are shorthands for spanner commands of the types
1962 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
1964 @lilypond[fragment,verbatim]
1965 c''4 \spanrequest \start "Sustain" c''4
1966 c''4 \spanrequest \stop "Sustain"
1969 The symbols that are printed can be modified by setting
1970 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
1971 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
1972 @rgrob{SustainPedal}, for example, for more information.
1974 Pedals can also be indicated by a sequence of brackets, by setting the
1975 @code{pedal-type} property of SustainPedal grobs:
1977 @lilypond[fragment,verbatim]
1978 \property Staff.SustainPedal \override #'pedal-type = #'bracket
1979 c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1982 A third style of pedal notation is a mixture of text and brackets,
1983 obtained by setting @code{pedal-type} to @code{mixed}:
1985 @lilypond[fragment,verbatim]
1986 \property Staff.SustainPedal \override #'pedal-type = #'mixed
1987 c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
1990 The default '*Ped' style for sustain and damper pedals corresponds to
1991 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
1992 for a sostenuto pedal:
1994 @lilypond[fragment,verbatim]
1995 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
1998 For fine-tuning of the appearance of a pedal bracket, the properties
1999 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2000 @code{PianoPedalBracket} grobs (see the detailed documentation of
2001 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2002 may be extended to the end of the note head.
2004 @lilypond[fragment,verbatim]
2005 \property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
2006 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2013 @subsection Arpeggio
2016 @cindex broken arpeggio
2017 @cindex @code{\arpeggio}
2019 You can specify an arpeggio sign on a chord by attaching an
2020 @code{\arpeggio} to a note of the chord.
2023 @lilypond[fragment,relative,verbatim]
2024 \context Voice <c\arpeggio e g c>
2027 When an arpeggio crosses staves in piano music, you attach an arpeggio
2028 to the chords in both staves, and set
2029 @code{PianoStaff.connectArpeggios}.
2031 @lilypond[fragment,relative,verbatim]
2032 \context PianoStaff <
2033 \property PianoStaff.connectArpeggios = ##t
2034 \context Voice = one { <c'\arpeggio e g c> }
2035 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2039 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2040 are @code{PianoStaff.Arpeggio}.
2042 To add an arrow head to explicitly specify the direction of the
2043 arpeggio, you should set the arpeggio grob property
2044 @code{arpeggio-type}.
2046 @lilypond[fragment,relative,verbatim]
2048 \property Voice.Arpeggio \override #'arpeggio-direction = #1
2050 \property Voice.Arpeggio \override #'arpeggio-direction = #-1
2055 A square bracket on the left indicates that the player should not
2056 arpeggiate the chord. To draw these brackets, set the
2057 @code{molecule-callback} property of @code{Arpeggio} or
2058 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2059 @code{\arpeggio} statements within the chords as before.
2061 @lilypond[fragment,relative,verbatim]
2062 \context PianoStaff <
2063 \property PianoStaff.connectArpeggios = ##t
2064 \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
2065 \context Voice = one { <c'\arpeggio e g c> }
2066 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2073 It is not possible to mix connected arpeggios and unconnected arpeggios
2078 @node Voice follower lines
2079 @subsection Voice follower lines
2081 @cindex follow voice
2082 @cindex staff switching
2085 @cindex @code{followVoice}
2087 Whenever a voice switches to another staff a line connecting the notes
2088 can be printed automatically. This is enabled if the property
2089 @code{PianoStaff.followVoice} is set to true:
2091 @lilypond[fragment,relative,verbatim]
2092 \context PianoStaff <
2093 \property PianoStaff.followVoice = ##t
2094 \context Staff \context Voice {
2096 \translator Staff=two
2099 \context Staff=two {\clef bass \skip 1*2 }
2103 The associated grob is @internalsref{VoiceFollower}.
2110 * Tablatures basic::
2111 * Non-guitar tablatures::
2112 * Tablature in addition to normal staff::
2115 @node Tablatures basic
2116 @subsection Tablatures basic
2117 @cindex Tablatures basic
2119 Tablature can be typeset with Lilypond by using the
2120 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2121 tablatures is a recent feature in Lilypond, most of the guitar special
2122 effects (hammer, pull, bend, ...) are not yet supported.
2124 With the @internalsref{TabStaff}, the string number associated to a note
2125 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2126 quarter on the third string. The string 1 is the lowest one, and the
2127 tuning defaults to the standard guitar tuning (with 6 strings).
2129 @lilypond[fragment,verbatim]
2132 \property Staff.Stem \override #'direction = #1
2141 @node Non-guitar tablatures
2142 @subsection Non-guitar tablatures
2143 @cindex Non-guitar tablatures
2145 There are many ways to customize Lilypond tablatures.
2147 First you can change the number of string, e.g.
2148 @code{StaffSymbol \override #'line-count = #5} to have only 5 strings.
2149 Because of a kind of bug in Lilypond, you MUST create a new type of
2150 context if you want different tablatures with diiferent number of
2153 Then you can change the strings tuning. String tuning is given as a
2154 Scheme list with one integer number for each string, the number being
2155 the string note pitch if not fretted (open note).
2157 Finally, it is possible to change the Scheme function to format the
2158 tablature note text. The default is @var{fret-number-tablature-format},
2159 which uses the fret number, but for some instruments that may not use
2160 this notation, just create your own tablature-format function. This
2161 function takes three argument: the string number, the string tuning and
2165 @node Tablature in addition to normal staff
2166 @subsection Tablature in addition to normal staff
2167 @cindex Tablature in addition to normal staff
2169 It is possible to typeset both tablature and a "normal" staff, as
2170 commonly done in many parts.
2172 A common trick for that is to put the notes in a variables, and to hide
2173 the fingering information (which correspond to the string number) for
2182 \context StaffGroup <
2184 % Hide fingering number (used for string number) for the "normal" staff
2185 \property Staff.Fingering \override #'transparent = ##t
2190 \property Staff.Stem \override #'direction = #1
2207 * Automatic syllable durations::
2213 @subsection Lyrics mode
2216 To print lyrics, you must first make a music expression from the lyric
2217 text. That music expression can be printed by selecting an appropriate
2221 @cindex @code{\lyrics}
2223 You can enter lyrics in a special input mode of LilyPond. This mode is
2224 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
2225 The purpose of this mode is that you can enter lyrics as plain text,
2226 punctuation and accents without any hassle.
2228 Syllables are entered like notes, with pitches replaced by text. For
2229 example, @code{Twin- kle twin- kle} enters four syllables. Note that
2230 the hyphen has no special meaning for lyrics, and does not introduce
2233 Spaces can be introduced into a lyric either by using quotes:
2234 @code{"He could"4 not4} or by using an underscore without quotes:
2235 @code{He_could4 not4}. All unquoted underscores are converted to
2238 The precise definition of this mode can be found in @ref{Lyrics mode
2241 @c . {Printing lyrics}
2242 @node Printing lyrics
2243 @subsection Printing lyrics
2246 Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
2248 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
2249 @c Add tied and beamed melismata too.
2250 @lilypond[verbatim,singleline]
2252 \notes \relative c' {
2254 \property Staff.automaticMelismata = ##t
2255 d'2 c4 b16 ( a g a b a b ) c a2
2256 b2 c4 b8 ( a16 g ) a4 g2 }
2257 \context Lyrics \lyrics {
2259 share the soft -- ware; }
2263 Notes and syllable durations are matched automatically. This is
2264 accomplished using @code{\addlyrics}, which is documented in
2265 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2266 the melody staff will cause tied, slurred or beamed notes to be
2267 interpreted as melismata.
2269 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2272 @cindex lyric extender
2275 As you can see, extender lines are entered as @code{__}. This will
2276 create an extender, a line that extends over the entire duration of the
2277 lyric. This line will run all the way to the start of the next lyric,
2278 so you may want to shorten it by using a blank lyric (using @code{_}).
2279 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2284 If you want to have hyphens centered between syllables (rather than
2285 attached to the end of the first syllable) you can use the special
2286 `@code{-}@code{-}' lyric as a separate word between syllables. This
2287 will result in a hyphen whose length varies depending on the space
2288 between syllables. It will be centered between the syllables. The grob
2289 for this symbol is @code{LyricsVoice.LyricHyphen}.
2291 @cindex Lyric hyphen
2293 @node Automatic syllable durations
2294 @subsection Automatic syllable durations
2295 @cindex Automatic syllable durations
2297 @cindex automatic lyric durations
2298 @cindex @code{\addlyrics}
2300 If you have lyrics that are set to a melody, you can copy the rhythm
2301 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2304 \addlyrics @var{musicexpr1 musicexpr2}
2307 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2308 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2309 when there are events in @var{musicexpr1}.
2311 @cindex @code{automaticMelismata}
2313 If the property @code{automaticMelismata} is set in the
2314 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2317 @lilypond[verbatim,fragment]
2320 \property Voice.automaticMelismata = ##t
2321 c8 () cis d8. e16 f2
2323 \context Lyrics \lyrics {
2327 If you want the lyric lines to be above the melody staff, or in some
2328 other, more complex configuration, then build that configuration first
2329 using simultaneous music, and use @code{\addlyrics} after that.
2331 @lilypond[verbatim, singleline]
2333 \context Lyrics = LA { s1 }
2334 \context Staff = SA { s1 }
2336 \context Staff = SA \relative c' { c4 e g g }
2337 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2340 For @code{\addlyrics} you should use a single rhythm melody, and single
2341 rhythm lyrics (a constant duration is the obvious choice). If you do
2342 not, you can get undesired effects when using multiple stanzas:
2344 @lilypond[verbatim,fragment]
2347 c8 () cis d8. e16 f2
2349 \context Lyrics \lyrics
2354 It is valid (but probably not very useful) to use notes instead of
2355 lyrics for @var{musicexpr2}.
2358 @subsection More stanzas
2362 If you have multiple stanzas printed underneath each other, the vertical
2363 groups of syllables should be aligned around punctuation. LilyPond can
2364 do this if you tell it which lyric lines belong to which melody.
2366 To this end, give the Voice context an identity, and set the LyricsVoice
2367 to a name starting with that identity followed by a dash.
2368 In the following example, the Voice
2369 identity is @code{duet}, and the identities of the LyricsVoices are
2370 @code{duet-1} and @code{duet-2}.
2373 @lilypond[singleline,verbatim]
2376 \notes \relative c'' \context Voice = duet { \time 3/4
2378 \lyrics \context Lyrics <
2379 \context LyricsVoice = "duet-1" {
2380 \property LyricsVoice . stanza = "Bert"
2381 Hi, my name is bert. }
2382 \context LyricsVoice = "duet-2" {
2383 \property LyricsVoice . stanza = "Ernie"
2384 Ooooo, ch\'e -- ri, je t'aime. }
2389 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2390 first system) and @code{LyricsVoice.stz} for the following
2391 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2397 @cindex stanza numbering
2405 LilyPond has support for both entering and printing chords. Chords are
2406 characterized by a set of pitches. They are
2407 internally stored as simultaneous music expressions. This means you can
2408 enter chords by name and print them as note head, enter them as notes
2409 and print them as chord names, or (the most common case) enter them by
2410 name, and print them as name.
2413 @lilypond[verbatim,singleline]
2414 twoWays = \notes \transpose c'' {
2424 < \context ChordNames \twoWays
2425 \context Voice \twoWays > }
2428 Note that this example also shows that the chord printing routines do
2429 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2430 interpret this as an inversion.
2434 * Printing named chords::
2439 @subsection Chords mode
2442 Chord mode is a mode where you can input sets of pitches using common
2443 names. It is introduced by the keyword @code{\chords}. It is similar
2444 to note mode, but words are also looked up in a chord modifier table
2445 (containing @code{maj}, @code{dim}, etc).
2447 Dashes and carets are used to indicate chord additions and subtractions,
2448 so articulation scripts can not be entered in Chord mode.
2450 The syntax for named chords is as follows:
2452 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2455 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2456 the chord duration in the usual notation. There are two kinds of
2457 modifiers. One type is formed by @emph{chord additions}. Additions are
2458 obtained by listing intervals separated by dots. An interval is written
2459 by its number with an optional @code{+} or @code{-} to indicate raising
2460 or lowering by half a step. Chord additions have two effects: they adds
2461 the specified interval and all lower odd numbered intervals to the
2462 chord, and they may lower or raise the specified interval.
2464 Throughout these examples, chords have been shifted around the staff
2465 using @code{\transpose}.
2467 @lilypond[fragment,verbatim]
2471 c:9 c:9-.5+.7+ c:3-.5-
2481 The second type of modifier that may appear after the @code{:} is a
2482 named modifier. Named modifiers are listed in the file
2483 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2484 @code{min} which lower the 3rd half a step, `@code{aug}' which
2485 raises the 5th, `@code{dim}' which lowers the 5th,
2486 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2487 which replaces the 5th with a 4th.
2489 @lilypond[fragment,verbatim]
2492 c1:m c:min7 c:maj c:aug c:dim c:sus
2498 Chord subtractions are used to eliminate notes from a chord. The
2499 notes to be subtracted are listed after a @code{^} character,
2502 @lilypond[fragment,verbatim,center]
2511 Chord inversions can be specified by appending `@code{/}' and the name
2512 of a single note to a chord. In a chord inversion, the inverted note is
2513 transposed down until it is the lowest note in the chord. If the note
2514 is not in the chord, a warning will be printed.
2516 @lilypond[fragment,verbatim,center]
2526 Bass notes can be added by `@code{/+}' and
2527 the name of a single note to a chord. This has the effect of
2528 adding the specified note to the chord, lowered by an octave,
2529 so it becomes the lowest note in the chord.
2531 @lilypond[fragment,verbatim,center]
2542 Implementation details are quite gory. For example @code{c:4} not only
2543 adds a fourth, but also removes the third.
2546 @c . {Printing named chords}
2547 @node Printing named chords
2548 @subsection Printing named chords
2550 @cindex printing chord names
2554 For displaying printed chord names, use the @internalsref{ChordNames} context.
2555 The chords may be entered either using the notation described above, or
2556 directly using simultaneous music.
2558 @lilypond[verbatim,singleline]
2560 \chords {a1 b c} <d f g> <e g b>
2564 \context ChordNames \scheme
2565 \context Staff \transpose c'' \scheme
2570 You can make the chord changes stand out by setting
2571 @code{ChordNames.chordChanges} to true. This will only display chord
2572 names when there's a change in the chords scheme and at the start of a
2577 c1:m c:m \break c:m c:m d
2581 \context ChordNames {
2582 \property ChordNames.chordChanges = ##t
2584 \context Staff \transpose c'' \scheme
2588 LilyPond examines chords specified as lists of notes to determine a name
2589 to give the chord. LilyPond will not try to identify chord inversions or
2590 an added bass note, which may result in strange chord names when chords
2591 are entered as a list of pitches:
2593 @lilypond[verbatim,center,singleline]
2602 \context ChordNames \scheme
2603 \context Staff \scheme
2609 By default, a chord name system proposed by Harald Banter (See
2610 @ref{Literature}) is used. The system is very regular and predictable.
2611 Typical American style chord names may be selected by setting the
2612 @code{style} property of the @code{ChordNames.ChordName} grob to
2613 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2615 Routines that determine the names to be printed are written in Scheme,
2616 and may be customized by the user. The code can be found in
2617 @file{scm/chord-name.scm}. Here's an example showing the differences in
2621 @c maybe just junk verbatim option?
2622 @lilypond[verbatim,singleline]
2632 \context ChordNames = banter \scheme
2633 \context ChordNames = american {
2634 \property ChordNames.ChordName \override
2635 #'style = #'american \scheme }
2636 \context ChordNames = jazz {
2637 \property ChordNames.ChordName \override
2638 #'style = #'jazz \scheme }
2639 \context Staff \transpose c'' \scheme
2646 @section Writing parts
2648 Orchestral music involves some special notation, both in the full score,
2649 as in the individual parts. This section explains how to tackle common
2650 problems in orchestral music.
2657 * Instrument names::
2659 * Sound output for transposing instruments::
2660 * Multi measure rests::
2661 * Automatic part combining::
2662 * Hara kiri staves::
2665 @c . {Rehearsal marks}
2666 @node Rehearsal marks
2667 @subsection Rehearsal marks
2668 @cindex Rehearsal marks
2670 @cindex @code{\mark}
2674 \mark @var{unsigned}
2679 This command prints a rehearsal mark above the system. You can provide
2680 a number, a string or a markup text as argument. If you use
2681 @code{\default}, the value of property @code{rehearsalMark} is used and
2682 automatically incremented.
2684 @lilypond[fragment,verbatim]
2690 c1 \mark #'(music "scripts-segno")
2695 The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
2696 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2699 @subsection Bar numbers
2703 @cindex measure numbers
2704 @cindex currentBarNumber
2706 Bar numbers are @internalsref{BarNumber} grobs. They are printed at the
2707 start of the line. The number itself is a property that can be set by
2708 modifying the @code{currentBarNumber} property, i.e.
2710 \property Score.currentBarNumber = #217
2713 If you want boxed bar numbers, see the example file
2714 @code{input/test/boxed-molecule.ly}.
2718 It is not possible to have bar numbers printed at regular intervals
2721 @node Instrument names
2722 @subsection Instrument names
2724 You can specify an instrument name for a staff by setting
2725 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2726 before the start of the staff. For the first start, @code{instrument} is
2727 used, for the next ones @code{instr} is used.
2729 @lilypond[verbatim,singleline]
2730 \property Staff.instrument = "ploink " { c''4 }
2733 You can also use markup texts to construct more complicated instrument
2737 @lilypond[verbatim,singleline]
2739 '((font-relative-size . -2 ) (music "accidentals--1")))
2742 \property Staff.instrument = #`((kern . 0.5) (lines
2743 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2751 When you put a name on a grand staff or piano staff the width of the
2752 brace is not taken into account. You must add extra spaces to the end of
2753 the name to avoid a collision.
2756 @subsection Transpose
2758 @cindex transposition of pitches
2759 @cindex @code{\transpose}
2761 A music expression can be transposed with @code{\transpose}. The syntax
2764 \transpose @var{pitch} @var{musicexpr}
2767 This means that middle C in @var{musicexpr} is transposed to
2770 @code{\transpose} distinguishes between enharmonic pitches: both
2771 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2772 a tone. The first version will print sharps and the second version
2775 @lilypond[fragment,verbatim]
2778 { \key e \major c d e f }
2780 \transpose des'' { \key e \major c d e f }
2781 \transpose cis'' { \key e \major c d e f }
2785 If you want to use both @code{\transpose} and @code{\relative}, then
2786 you must use @code{\transpose} first. @code{\relative} will have no
2787 effect music that appears inside a @code{\transpose}.
2789 @node Sound output for transposing instruments
2790 @subsection Sound output transposing instruments
2792 When you want to make a MIDI file from a score containing transposed and
2794 instruments, you have to instruct LilyPond the pitch offset (in
2795 semitones) for the transposed instruments. This is done using the
2796 @code{transposing} property. It does not affect printed output.
2798 @cindex @code{transposing}
2801 \property Staff.instrument = #"Cl. in B-flat"
2802 \property Staff.transposing = #-2
2805 @c . {Multi measure rests}
2806 @node Multi measure rests
2807 @subsection Multi measure rests
2808 @cindex Multi measure rests
2812 Multi measure rests are entered using `@code{R}'. It is specifically
2813 meant for full bar rests and for entering parts: the rest can expand to
2815 rests, or it can be printed as a single multimeasure rest This expansion
2816 is controlled by the property @code{Score.skipBars}. If this is set to true,
2817 Lily will not expand empty measures, and the appropriate number is added
2820 @lilypond[fragment,verbatim]
2821 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2824 Notice that the @code{R2.} is printed as a whole rest, centered in the
2827 @cindex whole rests for a full measure
2829 The grob for this object is @internalsref{MultiMeasureRest}.
2833 Currently, there is no way to automatically condense multiple rests into
2834 a single multimeasure rest.
2836 @cindex condensing rests
2838 @node Automatic part combining
2839 @subsection Automatic part combining
2840 @cindex automatic part combining
2841 @cindex part combiner
2844 Automatic part combining is used to merge two parts of music onto a
2845 staff in an intelligent way. It is aimed primarily at typesetting
2846 orchestral scores. When the two parts are identical for a period of
2847 time, only one is shown. In places where the two parts differ, they are
2848 typeset as separate voices, and stem directions are set automatically.
2849 Also, solo and @emph{a due} parts can be identified and marked.
2851 The syntax for part combining is
2854 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2856 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2857 combined into one context of type @var{context}. The music expressions
2858 must be interpreted by contexts whose names should start with @code{one}
2861 The most useful function of the part combiner is to combine parts into
2862 one voice, as common for wind parts in orchestral scores:
2864 @lilypond[verbatim,singleline,fragment]
2866 \context Voice=one \partcombine Voice
2867 \context Thread=one \relative c'' {
2870 \context Thread=two \relative c'' {
2876 Notice that the first @code{g} appears only once, although it was
2877 specified twice (once in each part). Stem, slur and tie directions are
2878 set automatically, depending whether there is a solo or unisono. The
2879 first part (with context called @code{one}) always gets up stems, and
2880 `solo', while the second (called @code{two}) always gets down stems and
2883 If you just want the merging parts, and not the textual markings, you
2884 may set the property @var{soloADue} to false.
2886 @lilypond[verbatim,singleline,fragment]
2888 \property Staff.soloADue = ##f
2889 \context Voice=one \partcombine Voice
2890 \context Thread=one \relative c'' {
2893 \context Thread=two \relative c'' {
2899 There are a number of other properties that you can use to tweak the
2900 behavior of part combining, refer to the automatically generated
2901 documentation of @reng{Thread_devnull_engraver} and
2902 @reng{Voice_devnull_engraver}. Look at the documentation of the
2903 responsible engravers, @code{Thread_devnull_engraver},
2904 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2908 In @code{soloADue} mode, when the two voices play the same notes on and
2909 off, the part combiner may typeset @code{a2} more than once in a
2912 @lilypond[fragment,singleline]
2914 \context Voice=one \partcombine Voice
2915 \context Thread=one \relative c'' {
2918 \context Thread=two \relative c'' {
2924 @cindex @code{Thread_devnull_engraver}
2925 @cindex @code{Voice_engraver}
2926 @cindex @code{A2_engraver}
2928 @node Hara kiri staves
2929 @subsection Hara kiri staves
2931 In orchestral scores, staff lines that only have rests are usually removed.
2932 This saves some space. LilyPond also supports this through the hara
2933 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2934 the Japanese Samourai warriors.} staff. This staff commits suicide when
2935 it finds itself to be empty after the line-breaking process. It will
2936 not disappear when it contains normal rests, you must use multi measure
2939 The hara kiri staff is specialized version of the @internalsref{Staff}
2940 context. It is available as the context identifier
2941 @code{\HaraKiriStaffContext}. Observe how the second staff in this
2942 example disappears in the second line.
2946 \notes \relative c' <
2947 \context Staff = SA { e4 f g a \break c1 }
2948 \context Staff = SB { c4 d e f \break R1 }
2952 \translator { \HaraKiriStaffContext }
2960 @node Ancient notation
2961 @section Ancient notation
2964 * Ancient note heads::
2969 @node Ancient note heads
2970 @subsection Ancient note heads
2972 To get a longa note head, you have to use mensural note heads. This
2973 is accomplished by setting the @code{style} property of the
2974 NoteHead grob to @code{mensural}. There is also a note head style
2975 @code{baroque} which gives mensural note heads for @code{\longa} and
2976 @code{\breve} but standard note heads for shorter notes.
2978 @lilypond[fragment,singleline,verbatim]
2979 \property Voice.NoteHead \set #'style = #'mensural
2980 \property Voice.NoteHead \set #'font-family = #'ancient
2985 @subsection Custodes
2990 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2991 staff context symbol that appears at the end of a staff line. It
2992 anticipates the pitch of the first note(s) of the following line and
2993 thus helps the player or singer to manage line breaks during
2994 performance, thus enhancing readability of a score.
2999 \property Staff.Custos \set #'style = #'mensural
3004 \consists Custos_engraver
3010 Custodes were frequently used in music notation until the 17th century.
3011 There were different appearances for different notation styles.
3012 Nowadays, they have survived only in special forms of musical notation
3013 such as via the @emph{editio vaticana} dating back to the beginning of
3016 For typesetting custodes, just put a @code{Custos_engraver} into the
3017 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3018 block, you can also globally control the appearance of the custos symbol
3019 by setting the custos @code{style} property. Currently supported styles
3020 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3027 \consists Custos_engraver
3028 Custos \override #'style = #'mensural
3033 The property can also be set locally, for example in a @code{\notes}
3038 \property Staff.Custos \override #'style = #'vaticana
3039 c'1 d' e' d' \break c' d' e' d'
3044 @section Ancient clefs
3046 LilyPond supports a variety of clefs, many of them ancient. These can
3047 be selected from the @code{ancient} font family, by setting
3048 @code{Staff.clefGlyph}) to the following values
3057 @item clefs-vaticana_do
3058 Editio Vaticana style do clef
3059 @item clefs-vaticana_fa
3060 Editio Vaticana style fa clef
3061 @item clefs-medicaea_do
3062 Editio Medicaea style do clef
3063 @item clefs-medicaea_fa
3064 Editio Medicaea style fa clef
3065 @item clefs-mensural1_c
3066 modern style mensural C clef
3067 @item clefs-mensural2_c
3068 historic style small mensural C clef
3069 @item clefs-mensural3_c
3070 historic style big mensural C clef
3071 @item clefs-mensural1_f
3072 historic style traditional mensural F clef
3073 @item clefs-mensural2_f
3074 historic style new mensural F clef
3075 @item clefs-mensural_g
3076 historic style mensural G clef
3077 @item clefs-hufnagel_do
3078 historic style hufnagel do clef
3079 @item clefs-hufnagel_fa
3080 historic style hufnagel fa clef
3081 @item clefs-hufnagel_do_fa
3082 historic style hufnagel combined do/fa clef
3083 @item clefs-percussion
3084 modern style percussion clef
3087 @emph{Modern style} means ``as is typeset in current editions.''
3088 @emph{Historic style} means ``as was typeset or written in contemporary
3089 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3092 @cindex Vaticana, Editio
3093 @cindex Medicaea, Editio
3094 @cindex hufnagel clefs
3100 @section Figured bass
3102 @cindex Basso continuo
3104 TODO. see figured-bass.ly
3106 @c . {Tuning output}
3108 @section Tuning output
3110 LilyPond tries to take as much formatting as possible out of your
3111 hands. Nevertheless, there are situations where it needs some help, or
3112 where you want to override its decisions. In this section we discuss
3113 ways to do just that.
3115 Formatting is internally done by manipulating so called grobs (graphic
3116 objects). Each grob carries with it a set of properties (grob
3117 properties) specific to that object. For example, a stem grob has
3118 properties that specify its direction, length and thickness.
3120 The most direct way of tuning the output is by altering the values of
3121 these properties. There are two ways of doing that: first, you can
3122 temporarily change the definition of a certain type of grob, thus
3123 affecting a whole set of objects. Second, you can select one specific
3124 object, and set a grob property in that object.
3127 * Tuning groups of grobs ::
3128 * Tuning per grob ::
3136 @node Tuning groups of grobs
3137 @subsection Tuning groups of grobs
3139 @cindex grob description
3143 A grob definition is a Scheme association list, that is stored in a
3144 context property. By assigning to that property (using plain
3145 @code{\property}), you can change the resulting grobs.
3147 @lilypond[verbatim, fragment]
3148 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
3151 The @code{\property} assignment effectively empties the definition of
3152 the Stem object. One of the effects is that the recipe of how it should be
3153 printed is erased, with the effect of rendering it invisible. The above
3154 assignment is available as a standard identifier, for the case that you
3158 \property Voice.Stem = \turnOff
3165 This mechanism is fairly crude, since you can only set, but not modify,
3166 the definition of a grob. For this reason, there is a more advanced
3169 The definition of a grob is actually a list of default grob
3170 properties. For example, the definition of the Stem grob (available in
3171 @file{scm/grob-description.scm}), defines the following values for
3176 (beamed-lengths . (0.0 2.5 2.0 1.5))
3177 (Y-extent-callback . ,Stem::height)
3181 You can add a property on top of the existing definition, or remove a
3182 property, thus overriding the system defaults:
3184 c'4 \property Voice.Stem \override #'thickness = #4.0
3185 c'4 \property Voice.Stem \revert #'thickness
3188 You should balance @code{\override} and @code{\revert}. If that's too
3189 much work, you can use the @code{\set} shorthand. It performs a revert
3190 followed by an override. The following example gives exactly the same
3191 result as the previous one.
3193 c'4 \property Voice.Stem \set #'thickness = #4.0
3194 c'4 \property Voice.Stem \set #'thickness = #0.8
3197 If you use @code{\set}, you must explicitly restore the default.
3200 Formally the syntax for these constructions is
3202 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3203 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3204 \property @var{context}.@var{grobname} \revert @var{symbol}
3206 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3207 and @var{grobname} are strings and @var{value} is a Scheme expression.
3210 If you revert a setting which was not set in the first place, then it
3211 has no effect. However, if the setting was set as a system default, it
3212 may remove the default value, and this may give surprising results,
3213 including crashes. In other words, @code{\override} and @code{\revert},
3214 must be carefully balanced.
3216 These are examples of correct nesting of @code{\override}, @code{\set},
3219 A clumsy but correct form:
3221 \override \revert \override \revert \override \revert
3224 Shorter version of the same:
3226 \override \set \set \revert
3229 A short form, using only @code{\set}. This requires you to know the
3232 \set \set \set \set @var{to default value}
3235 If there is no default (i.e. by default, the grob property is unset),
3238 \set \set \set \revert
3241 For the digirati, the grob description is an Scheme association
3242 list. Since a Scheme list is a singly linked list, we can treat it as a
3243 stack, and @code{\override} and @code{\revert} are just push and pop
3244 operations. This pushing and popping is also used for overriding
3245 automatic beaming settings.
3249 LilyPond will hang or crash if @var{value} contains cyclic references.
3250 The backend is not very strict in type-checking grob properties. If you
3251 @code{\revert} properties that are expected to be set by default,
3255 @cindex adjusting staff symbol
3256 @cindex StaffSymbol, using \property
3257 @cindex staff lines, setting number of
3259 Some grobs are created at the moment that their context is created. An
3260 example of such a grob is the staff itself (i.e. the horizontal lines).
3261 You can not change the appearance of the staff symbol by manipulating
3262 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3263 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3264 created before any @code{\override} is effective. You can deal with this
3265 either overriding properties in a @code{\translator} definition, or by
3266 using @code{\outputproperty}.
3271 @node Tuning per grob
3272 @subsection Tuning per grob
3274 @cindex \outputproperty
3276 A second way of tuning grobs is the more arcane @code{\outputproperty}
3277 feature. The syntax is as follows:
3279 \outputproperty @var{predicate} @var{symbol} = @var{value}
3281 Here @code{predicate} is a Scheme function taking a grob argument, and
3282 returning a boolean. This statement is processed by the
3283 @code{Output_property_engraver}. It instructs the engraver to feed all
3284 grobs that it sees to @var{predicate}. Whenever the predicate returns
3285 true, the grob property @var{symbol} will be set to @var{value}.
3287 You will need to combine this statement with @code{\context} to select
3288 the appropriate context to apply this to.
3290 Here are some random examples.
3293 In the following example, all note heads occurring at current staff
3294 level, are shifted up and right by setting their @code{extra-offset}
3297 @lilypond[fragment,verbatim,singleline]
3299 \context Staff \outputproperty
3300 #(make-type-checker 'note-head-interface)
3301 #'extra-offset = #'(0.5 . 0.75)
3305 @cindex @code{extra-offset}
3307 In this example, the predicate checks the @code{text} grob property, to
3308 shift only the `m.d.' text, but not the fingering instruction "2".
3309 @lilypond[verbatim,singleline]
3310 #(define (make-text-checker text)
3311 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3314 \notes\relative c''' {
3315 \property Voice.Stem \set #'direction = #1
3316 \outputproperty #(make-text-checker "m.d.")
3317 #'extra-offset = #'(-3.5 . -4.5)
3325 If possible, avoid this feature: the semantics are not very clean, and
3326 the syntax and semantics are up for rewrite.
3332 @subsection What to tune?
3334 This all tells you how to tune grobs, but you don't know what variables
3335 to set? The question is not answered in this part of the manual
3336 (although you may encounter some examples.).
3338 Grob properties are tied directly to the implementation of LilyPond, and
3339 they are thus a moving target. Documentation of such variables is in the
3340 automatically generated documentation. Description of properties are
3341 generated from the source code for each version. This documentation is
3342 therefore more up to date. It should be available from the same place
3343 where you got this manual.
3345 To decide how to tune a grob, you need to find the following information
3348 which grob to modify
3350 which property to modify
3352 which context the grob comes from.
3355 Included with the automatically generated documentation is a master list
3356 of grobs. Selecting a grob will take you to an overview of the
3357 properties available for that grob.
3359 There is also a master list of contexts. Selecting one takes you to an
3360 overview of that context which lists which grob types are created there.
3363 @node Font selection
3364 @subsection Font selection
3366 Most graphics in LilyPond are composed of characters of fonts. You can
3367 alter the characteristics of the font by setting certain grob
3368 properties. The mechanism that is used for this resembles La@TeX{}'s New
3369 Font Selection Scheme. Within this scheme, a font is entirely
3370 characterized by its font name.
3372 For each grob that uses fonts (in other words, each grob that supports
3373 @code{font-interface}) a font-name must be selected before it can be
3374 printed. The font name is selected by looking at a number of grob
3379 A symbol indicating the general class of the typeface. Supported are
3380 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3381 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3382 signs) and @code{typewriter}
3385 A symbol indicating the shape of the font, there are typically several
3386 font shapes available for each font family. Choices are @code{italic},
3387 @code{caps} and @code{upright}
3390 A symbol indicating the series of the font. There are typically several
3391 font series for each font family and shape. Choices are @code{medium}
3394 @item font-relative-size
3395 A number indicating the size relative the standard size. For example,
3396 with 20pt staff height, relative size -1 corresponds to 16pt staff
3397 height, and relative size +1 corresponds to 23 pt staff height.
3399 @item font-design-size
3400 A number indicating the design size of the font.
3402 This is a feature of the Computer Modern Font: each point size has a
3403 slightly different design. Smaller design sizes are relatively wider,
3404 which enhances readability. Scalable type faces such TrueType and Adobe
3405 Type1 usually come as ``one design fits all sizes''.
3408 The name of the font, without the design size, e.g. @code{cmr},
3409 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3416 The font is selected by taking the first font that satisfies all
3417 qualifiers specified. You can override any of these fields through
3418 @code{\override} and @code{\revert}. The special value @code{*} matches
3419 any value for that qualifier.
3422 \property Lyrics.LyricText \override #'font-series = #'bold
3423 \property Lyrics.LyricText \override #'font-shape = #'*
3426 @cindex @code{font-style}
3428 There are also pre-cooked font selection qualifiers. These are selected
3429 through the grob property @code{font-style}. For example, the style
3430 @code{finger} selects family @code{number} and relative size @code{-3}.
3431 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3432 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3435 The style sheets and tables for selecting fonts are located in
3436 @file{scm/font.scm}. Refer to this file for more information.
3439 Setting @code{font-name} overrides all other qualifiers. The value for
3440 this property should be a string, the file name of the font. You may use
3441 this to use special fonts, which are not a part of the style sheet, or
3442 which have special encodings.
3444 The size of the font may be set with the grob property
3445 @code{font-magnification}. It is the size of font, relative to its
3446 standard size. For example, @code{1.0} is normal size.
3450 Relative size is not linked to any real size.
3452 There is no style sheet provided for other fonts besides the @TeX{}
3455 @cindex font selection
3456 @cindex font magnification
3457 @cindex @code{font-interface}
3461 @subsection Text markup
3465 LilyPond has an internal mechanism to typeset texts. You can
3466 form text markup expressions by composing scheme expressions
3467 in the following way.
3469 @lilypond[verbatim, singleline]
3474 c^#'(italic "italic")
3475 d_#'((bold italic) "ff")
3477 f_#'(lines "one" (bold "two"))
3478 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3482 Normally, the Scheme markup text is stored in the @code{text} property
3483 of a grob. Formally, it is defined as follows:
3486 text: string | (head? text+)
3487 head: markup | (markup+)
3488 markup-item: property | abbrev
3489 property: (@var{key} . @var{value})
3490 abbrev: @code{columns lines roman music bold italic named super sub}
3491 @code{overstrike text finger volta timesig mmrest mark script}
3492 @code{large Large dynamic}
3495 The markup is broken down and converted into a list of grob properties,
3496 which are prepended to the property list. The @var{key}-@var{value}
3497 pair is a grob property. A list of properties available is included in
3498 the generated documentation for @rint{Text_interface}.
3500 The following abbreviations are currently defined:
3503 horizontal mode: set all text on one line (default)
3505 vertical mode: set every text on a new line
3509 selects the Feta font (the standard font for music notation glyphs),
3510 and uses named lookup
3517 lookup by character name
3519 plain text lookup (by character value)
3525 the next text or character overstrikes this one
3527 select fingering number fontstyle
3529 select volta number fontstyle
3531 select time signature number fontstyle
3533 select multi measure rest number fontstyle
3535 select mark number fontstyle
3537 select scriptsize roman fontstyle
3539 select large roman fontstyle
3541 select Large roman fontstyle
3543 select dynamics fontstyle
3547 @cindex metronome mark
3549 One practical application of complicated markup is to fake a metronome
3553 #(define note '(columns
3554 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3555 #(define eight-note `(columns ,note ((kern . -0.1)
3556 (music ((raise . 3.5) "flags-u3")))))
3557 #(define dotted-eight-note
3558 `(columns ,eight-note (music "dots-dot")))
3561 \notes\relative c'' {
3562 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3568 TextScript \override #'font-shape = #'upright
3574 @node Invisible grobs
3575 @subsection Invisible grobs
3576 @cindex invisible grobs
3580 ben nog steeds niet kapot van de informatiedichtheid hier.
3586 You can imagine a number of situations where you would want to make
3587 certain grobs not show up in the output. There may be aesthetic
3588 reasons, to make the output resemble an (old) manuscript as close as
3589 possible, or to make lessons or exercises for students.
3591 Grobs can be made invisible in a number of ways:
3593 Here's an example with blanked-out notes and stems:
3594 @lilypond[singleline,verbatim]
3596 \property Voice.NoteHead \override
3598 \property Voice.Stem \override
3599 #'transparent = ##t }
3602 \property Voice.NoteHead \revert #'transparent
3603 \property Voice.Stem \revert #'transparent }
3606 \notes\relative c'' {
3608 a b c b \blanknotes c \unblanknotes d
3612 This method makes the grobs invisible but they still take the normal space.
3613 To remove all traces of the grob, you can redefine the function
3617 \notes\relative c'' {
3620 as bes c bes c d \break
3621 \property Staff.KeySignature \override #'molecule-callback = #'()
3624 \paper{linewidth=5.0\cm indent=0}
3628 A very rigorous way of removing grobs from the whole score is to remove
3629 the engraver that creates them. For example,
3631 @lilypond[singleline,verbatim]
3632 \score {\notes { c'4 d'8 e'8 g2 }
3633 \paper { \translator {
3635 \remove Stem_engraver
3641 @subsection Dirty tricks
3642 @cindex embedded tex
3644 It is possible to use @TeX{} commands in the strings, but this should be
3645 avoided because it makes it impossible for LilyPond to compute the
3646 exact length of the string, which may lead to collisions. Also, @TeX{}
3647 commands won't work with direct PostScript output (see @ref{PostScript
3650 @lilypond[fragment,relative,verbatim]
3651 a'^"3 $\\times$ \\`a deux"
3654 You can also use raw PostScript commands embedded in text scripts. This
3655 offers ultimate flexibility, but requires you to learn PostScript.
3656 Currently, embedded PostScript will @strong{not} work with direct
3657 PostScript output. Note that all dimensions that you use are in staff
3662 \notes \relative c'' {
3663 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3664 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3665 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3669 \paper { linewidth = 70*\staffspace }
3676 @section Page layout
3679 The page layout is the combined product of LilyPond formatting notation,
3680 and (La)@TeX{} putting the notation on a page, including page breaks.
3681 The part of LilyPond is documented here.
3695 @subsection Paper block
3698 The most important output definition is the @code{\paper} block, for
3699 music notation. The syntax is
3702 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3705 where each of the items is one of
3708 @item An assignment.
3710 @item A context definition. See @ref{Interpretation context} for
3711 more information on context definitions.
3713 @item \stylesheet declaration. Its syntax is
3715 \stylesheet @var{alist}
3718 See @file{scm/font.scm} for details of @var{alist}.
3719 @item an @code{\elementdescriptions} declaration.
3721 \elementdescriptions @var{alist}
3723 See @file{scm/grob-description.scm} for details of
3724 @var{alist}. This command is not user-serviceable.
3728 @c . {Paper variables}
3729 @node Paper variables
3730 @subsection Paper variables
3731 @cindex Paper variables
3733 The paper block has some variables you may want to use or change:
3736 @cindex @code{indent}
3738 The indentation of the first line of music.
3739 @cindex @code{staffspace}
3741 @item @code{staffspace}
3742 The distance between two staff lines, calculated from the center
3745 @cindex @code{linewidth}
3746 @item @code{linewidth}
3747 Sets the width of the lines.
3749 If set to a negative value, a single unjustified line is produced.
3750 @c rename to singleLinePaper ?
3751 The shorthand @code{\singleLine} defines a default paper block that
3752 produces a single line.
3754 @cindex @code{textheight}
3756 @item @code{textheight}
3757 Sets the total height of the music on each page. Only used by
3760 @cindex @code{interscoreline}
3762 @item @code{interscoreline}
3763 Sets the spacing between systems. The default is 16pt.
3765 @cindex @code{interscorelinefill}
3767 @item @code{interscorelinefill}
3768 If set to a positive number, the distance between the score
3769 lines will stretch in order to fill the full page. In that
3770 case @code{interscoreline} specifies the minimum spacing.
3775 @cindex @code{stafflinethickness}
3777 @item @code{stafflinethickness}
3778 Determines the thickness of staff lines, and also acts as a scaling
3779 parameter for other line thicknesses.
3782 You may enter these dimension using units (@code{cm}, @code{in},
3783 @code{mm}, @code{pt}), or relative to another dimension
3785 linewidth = 20.0 * \staffspace
3792 @subsection Font size
3793 @cindex font size, setting
3794 @cindex staff size, setting
3795 @cindex @code{paper} file
3797 The Feta font provides musical symbols at six different sizes. These
3798 fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
3799 point. The point size of a font is the height of the five lines in a
3800 staff when displayed in the font.
3802 Definitions for these sizes are the files @file{paperSZ.ly}, where
3803 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3804 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3805 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3806 @code{paperTwentysix} are defined respectively. The default
3807 @code{\paper} block is also set. These files should be imported at toplevel, i.e.
3809 \include "paper26.ly"
3813 The font definitions are generated using a Scheme function. For more
3814 details, see the file @file{scm/font.scm}.
3820 @subsection Paper size
3825 @cindex @code{papersize}
3827 To change the paper size, you must first set the
3828 @code{papersize} paper variable variable. Set it to
3829 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3830 specification, you must set the font as described above. If you want
3831 the default font, then use the 20 point font.
3834 \paper@{ papersize = "a4" @}
3835 \include "paper16.ly"
3838 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3839 will set the paper variables @code{hsize} and @code{vsize} (used by
3840 Lilypond and @code{ly2dvi})
3844 @subsection Line break
3847 @cindex breaking lines
3849 Line breaks are normally computed automatically. They are chosen such
3850 that it looks neither cramped nor loose, and that consecutive lines have
3853 Occasionally you might want to override the automatic breaks; you can do
3854 this by specifying @code{\break}. This will force a line break at this
3855 point. Do remember that line breaks can only occur at places where there
3856 are bar lines. If you want to have a line break where there is no
3857 bar line, you can force an invisible bar line by entering @code{\bar
3858 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3860 If you want linebreaks at regular intervals, you can use the following:
3863 < \repeat 7 unfold @{ s1 * 4 \break @}
3867 This makes the following 28 measures (assuming 4/4 time) be broken every
3871 @cindex @code{\penalty}
3873 The @code{\break} and @code{\noBreak} commands are defined in terms of
3874 the penalty command:
3879 This encourages or discourages LilyPond to make a line break at this
3884 The scaling of the @code{\penalty} argument is not well-defined. The
3885 command is rather kludgey, and slated for rewriting.
3889 @subsection Page break
3892 @cindex breaking pages
3894 Page breaks are normally computed by @TeX{}, so they are not under
3895 direct control of LilyPond. However, you can insert a commands into the
3896 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3897 the command @code{\newpage}
3898 @cindex @code{\newpage}
3904 @c why do so difficult?
3905 @c maybe should explain contents of between-system.ly,
3906 @c but not now, we're talking about page breaks here.
3908 @c details, see the example file @file{input/test/between-systems.ly}
3911 @c . {Output scaling}
3912 @node Output scaling
3913 @subsection Output scaling
3928 There is no mechanism to select magnification of particular fonts,
3929 meaning that you don't have access to continuously scaled fonts.
3933 @c . {Output formats}
3934 @node Output formats
3935 @section Output formats
3937 LilyPond can output processed music in different output formats.
3941 * PostScript output::
3943 * ASCIIScript output::
3947 @subsection TeX output
3950 LilyPond will use @TeX{} by default. Even if you want to produce
3951 PostScript output for viewing or printing, you should normally have
3952 LilyPond produce @TeX{} first. The .tex output must be processed by
3953 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3954 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3955 used to generate the .dvi for you.
3959 Titling is not generated unless you use @file{ly2dvi}.
3962 @node PostScript output
3963 @subsection PostScript output
3964 @cindex PostScript output
3965 @cindex direct PostScript output
3967 LilyPond can produce PostScript directly, without going through @TeX{}.
3968 Currently, this is mainly useful if you cannot use TeX, because direct
3969 PostScript output has some problems; see Bugs below.
3972 $ lilypond -fps foo.ly
3973 GNU LilyPond 1.3.144
3974 Now processing: `foo.ly'
3976 Interpreting music...[3]
3977 Preprocessing elements...
3978 Calculating column positions...
3979 paper output to foo.ps...
3981 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3987 Text font selection is broken.
3989 The .ps file does not contain the .pfa font files. To print a .ps
3990 created through direct postscript output, you should prepend the
3991 necessary .pfa files to LilyPond's .ps output, or upload them to the
3992 printer before printing.
3994 The line height calculation is broken, you must set @var{lineheight} in
3995 the paperblock if you have more than one staff in your score, e.g.
4000 % Set line height to 40 staff spaces
4006 @subsection Scheme output
4007 @cindex Scheme output
4009 In the typesetting stage, LilyPond builds a page description, which is
4010 then written to disk in postscript, @TeX{} or ASCII art. Before it is
4011 written, the page description is represented as Scheme expressions. You
4012 can also dump these Scheme expressions to a file, which may be
4013 convenient for debugging output routines. This is done with the Scheme
4017 $ lilypond -fscm foo.ly
4018 GNU LilyPond 1.3.144
4019 Now processing: `foo.ly'
4021 Interpreting music...[3]
4022 Preprocessing elements...
4023 Calculating column positions...
4024 paper output to foo.scm...
4027 ;;; Usage: guile -s x.scm > x.tex
4028 (primitive-load-path 'standalone.scm)
4032 $ guile -s foo.scm > foo.tex
4036 @node ASCIIScript output
4037 @subsection ASCIIScript output
4038 @cindex ASCIIScript output
4039 @cindex ascii script
4042 LilyPond can output ASCII Art. This is a two step process, LilyPond
4043 produces an ASCII description file, dubbed ASCIIScript (extension
4044 @file{.as}). ASCIIScript has a small and simple command set that
4045 includes font selection, character and string printing and line drawing
4046 commands. The program @file{as2text} is used to translate an .as file
4049 To produce ASCII Art, you must include an ASCII Art paper definition
4050 file in your .ly, one of:
4052 \include "paper-as5.ly"
4053 \include "paper-as9.ly"
4056 Here's an example use for ASCII Art output (the example file
4057 @file{as-email.ly} is included in the LilyPond distribution), the staff
4058 symbol has been made invisible:
4061 $ lilypond -fas as-email.ly
4062 GNU LilyPond 1.3.144
4063 Now processing: `as-email.ly'
4065 Interpreting music...[3]
4066 Preprocessing elements...
4067 Calculating column positions... [2]
4068 paper output to as-email.as...
4070 $ as2text as-email.as 2>/dev/null
4072 |/ |##|##| | | | | |
4073 /| | | | | |\ |\ |\ |\ |\ |
4074 / |_ 3 | | | | 5 | )| )| )| )| )|
4075 | /| \ 8 * * * | 8 * * * * * |
4085 The ASCII Art fonts are far from complete and not very well designed.
4086 It's easy to change the glyphs, though; if you think you can do better,
4087 have a look at @file{mf/*.af}.
4089 Lots of resizable symbols such as slurs, ties and tuplets are missing.
4091 The poor looks of most ASCII Art output and its limited general
4092 usefulness gives ASCII Art output a low priority; it may be
4093 dropped in future versions.
4100 LilyPond can produce MIDI output. The performance lacks lots of
4101 interesting effects, such as swing, articulation, slurring, etc., but it
4102 is good enough for proof-hearing the music you have entered. Ties,
4103 dynamics and tempo changes are interpreted.
4105 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4106 levels. Dynamic marks translate to a fixed fraction of the available
4107 MIDI volume range, crescendi and decrescendi make the the volume vary
4108 linearly between their two extremities. The fractions be adjusted by
4109 overriding the @code{absolute-volume-alist} defined in
4110 @file{scm/midi.scm}.
4112 For each type of musical instrument (that MIDI supports), a volume range
4113 can be defined. This gives you basic equalizer control, which can
4114 enhance the quality of the MIDI output remarkably. You can add
4115 instruments and ranges or change the default settings by overriding the
4116 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4118 Both loudness controls are combined to produce the final MIDI volume.
4123 It is currently not possible to use the percussion channel (generally
4124 channel 10 of a MIDI file).
4128 * MIDI instrument names::
4133 @subsection MIDI block
4137 The MIDI block is analogous to the paper block, but it is somewhat
4138 simpler. The @code{\midi} block can contain:
4142 @item a @code{\tempo} definition
4143 @item context definitions
4146 Assignments in the @code{\midi} block are not allowed.
4150 @cindex context definition
4152 Context definitions follow precisely the same syntax as within the
4153 \paper block. Translation modules for sound are called performers.
4154 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4157 @node MIDI instrument names
4158 @subsection MIDI instrument names
4160 @cindex instrument names
4161 @cindex @code{Staff.midiInstrument}
4162 @cindex @code{Staff.instrument}
4164 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4165 property or, if that property is not set, the @code{Staff.instrument}
4166 property. The instrument name should be chosen from the list in
4167 @ref{MIDI instruments}.
4171 If the selected string does not exactly match, then LilyPond uses the
4172 default (Grand Piano). It is not possible to select an instrument by
4182 @c FIXME: Note entry vs Music entry at top level menu is confusing.
4185 @section Music entry
4193 When entering music with LilyPond, it is easy to introduce errors. This
4194 section deals with tricks and features that help you enter music, and
4195 find and correct mistakes.
4199 @subsection Relative
4201 @cindex relative octave specification
4203 Octaves are specified by adding @code{'} and @code{,} to pitch names.
4204 When you copy existing music, it is easy to accidentally put a pitch in
4205 the wrong octave and hard to find such an error. To prevent these
4206 errors, LilyPond features octave entry.
4208 @cindex @code{\relative}
4210 \relative @var{startpitch} @var{musicexpr}
4213 The octave of notes that appear in @var{musicexpr} are calculated as
4214 follows: If no octave changing marks are used, the basic interval
4215 between this and the last note is always taken to be a fourth or less
4216 (This distance is determined without regarding alterations; a
4217 @code{fisis} following a @code{ceses} will be put above the
4220 The octave changing marks @code{'} and @code{,} can be added to raise or
4221 lower the pitch by an extra octave. Upon entering relative mode, an
4222 absolute starting pitch must be specified that will act as the
4223 predecessor of the first note of @var{musicexpr}.
4225 Entering music that changes octave frequently is easy in relative mode.
4226 @lilypond[fragment,singleline,verbatim,center]
4232 And octave changing marks are used for intervals greater than a fourth.
4233 @lilypond[fragment,verbatim,center]
4235 c g c f, c' a, e'' }
4238 If the preceding item is a chord, the first note of the chord is used
4239 to determine the first note of the next chord. However, other notes
4240 within the second chord are determined by looking at the immediately
4243 @lilypond[fragment,verbatim,center]
4250 @cindex @code{\notes}
4252 The pitch after the @code{\relative} contains a note name. To parse
4253 the pitch as a note name, you have to be in note mode, so there must
4254 be a surrounding @code{\notes} keyword (which is not
4257 The relative conversion will not affect @code{\transpose},
4258 @code{\chords} or @code{\relative} sections in its argument. If you
4259 want to use relative within transposed music, you must place an
4260 additional @code{\relative} inside the @code{\transpose}.
4265 @subsection Bar check
4269 @cindex @code{barCheckNoSynchronize}
4273 Whenever a bar check is encountered during interpretation, a warning
4274 message is issued if it doesn't fall at a measure boundary. This can
4275 help you find errors in the input. Depending on the value of
4276 @code{barCheckNoSynchronize}, the beginning of the measure will be
4277 relocated, so this can also be used to shorten measures.
4279 A bar check is entered using the bar symbol, @code{|}:
4281 \time 3/4 c2 e4 | g2.
4286 @cindex skipTypesetting
4288 Failed bar checks are most often caused by entering incorrect
4289 durations. Incorrect durations often completely garble up the score,
4290 especially if it is polyphonic, so you should start correcting the score
4291 by scanning for failed bar checks and incorrect durations. To speed up
4292 this process, you can use @code{skipTypesetting} (See @ref{Skipping
4293 corrected music})). Bar
4296 @c . {Point and click}
4297 @node Point and click
4298 @subsection Point and click
4300 Point and click lets you find notes in the input by clicking on them in
4301 the Xdvi window. This makes it very easy to find input that causes some
4302 error in the sheet music.
4304 To use it, you need the following software
4306 @unnumberedsubsec Installation
4310 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
4311 Xdvi} version 22.36 or newer.
4313 Note that most @TeX{} distributions ship with xdvik, which is a
4314 different and less well maintained program. To find out which xdvi you
4315 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
4319 Xdvi must be configured to find the TeX fonts and music
4320 fonts. Refer to the Xdvi documentation for more information.
4323 @unnumberedsubsec Using it
4325 Add one of these lines to the top of your .ly file. The first one is for
4326 line location only. The second one is more convenient, but requires
4327 patching @code{emacsclient} and @code{server.el}.
4330 #(set! point-and-click line-location)
4333 In the emacs startup file (usually @file{~/.emacs}), add the following
4338 Make sure that the environment variable @code{XEDITOR} is set
4341 emacsclient --no-wait +%l %f
4343 The second one, that also specifies the column, only works if you have
4344 patched your emacsclient and server, and have compiled your @code{.ly}
4345 file using the @code{line-column-location} setting.
4347 When viewing, control-mousebutton 1 will take you to the originating
4348 spot in the @file{.ly} file. Control-mousebutton 2 will show all
4352 @unnumberedsubsec Column location
4354 If you want emacs to jump to the exact spot (and not just the line) on a
4355 click, you must enable column positioning. To do so, you need to patch
4356 emacsclient. Apply @file{emacsclient.patch} (included with the source
4357 package) to @file{emacsclient.c} and @file{server.el} from the emacs
4358 source code. Recompile and stick the recompiled emacsclient into a bin
4359 directory, and put @file{server.el} into a elisp directory
4360 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
4361 init file, before invoking server-start.
4364 (setq load-path (cons "~/usr/share/emacs" load-path))
4367 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
4369 At the top of the @code{ly} file, replace the @code{set!} line with the
4372 #(set! point-and-click line-column-location)
4375 One final hint: if you correct large files with point-and-click, then
4376 start correcting at the end of the file. When you start at the top, and
4377 insert one line, all subsequent locations will be off by a line.
4382 When you convert the @TeX{} file to PostScript using @code{dvips}, it
4383 will complain about not finding @code{src:X:Y} files. Those complaints
4384 are harmless, and can be ignored.
4386 @node Skipping corrected music
4387 @section Skipping corrected music
4389 The property @code{Score.skipTypesetting} can be used to switch on and
4390 off typesetting completely during the interpretation phase. When
4391 typesetting is switched off, the music is processed much more quickly.
4392 You can use this to skip over the parts of a score that you have already
4395 @lilypond[fragment,singleline,verbatim]
4396 \relative c'' { c8 d
4397 \property Score.skipTypesetting = ##t
4399 \property Score.skipTypesetting = ##f
4404 @node Interpretation context
4405 @section Interpretation context
4408 * Creating contexts::
4409 * Default contexts::
4410 * Context properties::
4411 * Engravers and performers::
4412 * Changing context definitions::
4413 * Defining new contexts::
4417 Interpretation contexts are objects that only exist during a run of
4418 LilyPond. During the interpretation phase of LilyPond (when it prints
4419 "interpreting music"), the music expression in a @code{\score} block is
4420 interpreted in time order. This is the same order that humans hear and
4423 During this interpretation, the interpretation context holds the
4424 state for the current point within the music. It contains information
4428 @item What notes are playing at this point?
4429 @item What symbols will be printed at this point?
4430 @item What is the current key signature, time signature, point within
4434 Contexts are grouped hierarchically: A @internalsref{Voice} context is
4435 contained in a @internalsref{Staff} context (because a staff can contain
4436 multiple voices at any point), a @internalsref{Staff} context is contained in
4437 @internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
4439 Contexts associated with sheet music output are called @emph{notation
4440 contexts}, those for sound output are called @emph{performance
4441 contexts}. The default definitions of the standard notation and
4442 performance contexts can be found in @file{ly/engraver-init.ly} and
4443 @file{ly/performer-init.ly}, respectively.
4445 @node Creating contexts
4446 @subsection Creating contexts
4448 @cindex @code{\context}
4449 @cindex context selection
4451 Contexts for a music expression can be selected manually, using the
4452 following music expression.
4455 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4458 This instructs lilypond to interpret @var{musicexpr} within the context
4459 of type @var{contexttype} and with name @var{contextname}. If this
4460 context does not exist, it will be created.
4462 @lilypond[verbatim,singleline]
4464 \notes \relative c'' {
4465 c4 <d4 \context Staff = "another" e4> f
4471 In this example, the @code{c} and @code{d} are printed on the
4472 default staff. For the @code{e}, a context Staff called
4473 @code{another} is specified; since that does not exist, a new
4474 context is created. Within @code{another}, a (default) Voice context
4475 is created for the @code{e4}. When all music referring to a
4476 context is finished, the context is ended as well. So after the
4477 third quarter, @code{another} is removed.
4481 @node Default contexts
4482 @subsection Default contexts
4484 Most music expressions don't need an explicit @code{\context}
4485 declaration: they inherit the
4486 notation context from their parent. Each note is a music expression, and
4487 as you can see in the following example, only the sequential music
4488 enclosing the three notes has an explicit context.
4490 @lilypond[verbatim,singleline]
4491 \score { \notes \context Voice = goUp { c'4 d' e' } }
4494 There are some quirks that you must keep in mind when dealing with
4497 First, every top level music is interpreted by the Score context, in other
4498 words, you may think of @code{\score} working like
4501 \context Score @var{music}
4505 Second, contexts are created automatically to be able to interpret the
4506 music expressions. Consider the following example.
4508 @lilypond[verbatim, singleline]
4509 \score { \context Score \notes { c'4 ( d' )e' } }
4512 The sequential music is interpreted by the Score context initially
4513 (notice that the @code{\context} specification is redundant), but when a
4514 note is encountered, contexts are setup to accept that note. In this
4515 case, a Thread, Voice and Staff are created. The rest of the sequential
4516 music is also interpreted with the same Thread, Voice and Staff context,
4517 putting the notes on the same staff, in the same voice.
4519 This is a convenient mechanism, but do not expect opening chords to work
4520 without @code{\context}. For every note, a separate staff is
4523 @cindex explicit context
4524 @cindex starting with chords
4525 @cindex chords, starting with
4527 @lilypond[verbatim, singleline]
4528 \score { \notes <c'4 es'> }
4531 Of course, if the chord is preceded by a normal note in sequential
4532 music, the chord will be interpreted by the Thread of the preceding
4534 @lilypond[verbatim,singleline]
4535 \score { \notes { c'4 <c'4 es'> } }
4540 @node Context properties
4541 @subsection Context properties
4543 Notation contexts have properties. These properties are from
4544 the @file{.ly} file using the following expression:
4545 @cindex @code{\property}
4547 \property @var{contextname}.@var{propname} = @var{value}
4550 Sets the @var{propname} property of the context @var{contextname} to the
4551 specified Scheme expression @var{value}. All @var{propname} and
4552 @var{contextname} are strings, which are typically unquoted.
4554 Properties that are set in one context are inherited by all of the
4555 contained contexts. This means that a property valid for the
4556 @internalsref{Voice} context can be set in the @internalsref{Score} context (for
4557 example) and thus take effect in all @internalsref{Voice} contexts.
4559 Properties can be unset using the following expression:
4561 \property @var{contextname}.@var{propname} \unset
4564 @cindex properties, unsetting
4565 @cindex @code{\unset}
4567 This removes the definition of @var{propname} in @var{contextname}. If
4568 @var{propname} was not defined in @var{contextname} (but was inherited
4569 from a higher context), then this has no effect.
4574 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4575 the inverse of @code{\property \set}.
4577 @node Engravers and performers
4578 @subsection Engravers and performers
4582 Basic building blocks of translation are called engravers; they are
4583 special C++ classes.
4587 @c . {Context definitions}
4588 @node Changing context definitions
4589 @subsection Changing context definitions
4591 @cindex context definition
4592 @cindex translator definition
4594 The most common way to define a context is by extending an existing
4595 context. You can change an existing context from the paper block, by
4596 first initializing a translator with an existing context identifier:
4600 @var{context-identifier}
4603 Then you can add and remove engravers using the following syntax:
4605 \remove @var{engravername}
4606 \consists @var{engravername}
4610 Here @var{engravername} is a string, the name of an engraver in the
4614 @lilypond[verbatim,singleline]
4618 \translator { \StaffContext
4619 \remove Clef_engraver
4625 You can also set properties in a translator definition. The syntax is as
4628 @var{propname} = @var{value}
4629 @var{propname} \set @var{grob-propname} = @var{pvalue}
4630 @var{propname} \override @var{grob-propname} = @var{pvalue}
4631 @var{propname} \revert @var{grob-propname}
4633 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4634 and @code{pvalue} are Scheme expressions. These type of property
4635 assignments happen before interpretation starts, so a @code{\property}
4636 command will override any predefined settings.
4639 To simplify editing translators, all standard contexts have standard
4640 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4641 @code{VoiceContext}, see @file{ly/engraver-init.ly}.
4643 @node Defining new contexts
4644 @subsection Defining new contexts
4646 If you want to build a context from scratch, you must also supply the
4647 following extra information:
4649 @item A name, specified by @code{\name @var{contextname}}.
4651 @item A cooperation module. This is specified by @code{\type
4658 \type "Engraver_group_engraver"
4661 \consists "Staff_symbol_engraver"
4662 \consists "Note_head_engraver"
4663 \consistsend "Axis_group_engraver"
4667 The argument of @code{\type} is the name for a special engraver that
4668 handles cooperation between simple engravers such as
4669 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4670 for this engraver are the following:
4672 @cindex @code{Engraver_group_engraver}
4673 @item @code{Engraver_group_engraver}
4674 The standard cooperation engraver.
4676 @cindex @code{Score_engraver}
4678 @item @code{Score_engraver}
4679 This is cooperation module that should be in the top level context,
4680 and only the top level context.
4682 @cindex @code{Grace_engraver_group}
4684 @item @code{Grace_engraver_group}
4685 This is a special cooperation module (resembling
4686 @code{Score_engraver}) that is used to create an embedded
4693 @item @code{\alias} @var{alternate-name}
4694 This specifies a different name. In the above example,
4695 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4697 @item @code{\consistsend} @var{engravername}
4698 Analogous to @code{\consists}, but makes sure that
4699 @var{engravername} is always added to the end of the list of
4702 Some engraver types need to be at the end of the list; this
4703 insures they stay there even if a user adds or removes engravers.
4704 End-users generally don't need this command.
4706 @item @code{\accepts} @var{contextname}
4707 Add @var{contextname} to the list of contexts this context can
4708 contain in the context hierarchy. The first listed context is the
4709 context to create by default.
4711 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4712 completeness, but is never used in practice.
4715 @item @code{\name} @var{contextname}
4716 This sets the type name of the context, e.g. @internalsref{Staff},
4717 @internalsref{Voice}. If the name is not specified, the translator won't do
4721 In the @code{\paper} block, it is also possible to define translator
4722 identifiers. Like other block identifiers, the identifier can only
4723 be used as the very first item of a translator. In order to define
4724 such an identifier outside of @code{\score}, you must do
4729 foo = \translator @{ @dots{} @}
4736 \translator @{ \foo @dots{} @}
4744 @cindex paper types, engravers, and pre-defined translators
4751 @c . {Syntactic details}
4752 @node Syntactic details
4753 @section Syntactic details
4754 @cindex Syntactic details
4756 This section describes details that were too boring to be put elsewhere.
4761 * Music expressions::
4762 * Manipulating music expressions::
4770 @subsection Top level
4773 This section describes what you may enter at top level.
4777 @subsubsection Score
4780 @cindex score definition
4782 The output is generated combining a music expression with an output
4783 definition. A score block has the following syntax:
4786 \score @{ @var{musicexpr} @var{outputdefs} @}
4789 @var{outputdefs} are zero or more output definitions. If none is
4790 supplied, the default @code{\paper} block will be added.
4794 @c . {Default output}
4795 @subsubsection Default output
4797 Default values for the @code{\paper} and @code{\midi} block are set by
4798 entering such a block at the top level.
4801 @subsubsection Header
4803 @cindex @code{\header}
4806 A header describes bibliographic information of the file's contents. It
4807 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4808 use this information for generating titles. Key values that are used by
4809 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4810 meter, arranger, piece and tagline.
4812 @cindex @code{ly2dvi}
4816 \header @{ @var{key1} = @var{val1}
4817 @var{key2} = @var{val2} @dots{} @}
4820 It is customary to put the @code{\header} at the top of the file.
4822 @subsubsection Default output
4824 A @code{\midi} or @code{\paper} block at top level sets the default
4825 paper block for all scores that lack an explicit paper block.
4829 @subsection Identifiers
4833 What has this section got to do with identifiers?
4834 It seems more appropriate in the introduction to Chapter 4,
4840 All of the information in a LilyPond input file, is internally
4841 represented as a Scheme value. In addition to normal Scheme data types
4842 (such as pair, number, boolean, etc.), LilyPond has a number of
4843 specialized data types,
4850 @item Translator_def
4854 @item Music_output_def
4855 @item Moment (rational number)
4858 LilyPond also includes some transient object types. Objects of these
4859 types are built during a LilyPond run, and do not `exist' per se within
4860 your input file. These objects are created as a result of your input
4861 file, so you can include commands in the input to manipulate them,
4862 during a lilypond run.
4865 @item Grob: short for Graphical object. See @ref{Grobs}.
4866 @item Molecule: device-independent page output object,
4867 including dimensions. Produced by some Grob functions
4869 @item Translator: object that produces audio objects or Grobs. This is
4870 not yet user accessible.
4871 @item Font_metric: object representing a font.
4875 @node Music expressions
4876 @subsection Music expressions
4878 @cindex music expressions
4880 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4881 syllables are music expressions, and you can combine music expressions
4882 to form new ones, for example by enclosing a list of expressions in
4883 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4884 compound expression is formed out of the quarter note @code{c} and a
4885 quarter note @code{d}:
4888 \sequential @{ c4 d4 @}
4891 @cindex Sequential music
4892 @cindex @code{\sequential}
4893 @cindex sequential music
4896 @cindex Simultaneous music
4897 @cindex @code{\simultaneous}
4899 The two basic compound music expressions are simultaneous and
4903 \sequential @code{@{} @var{musicexprlist} @code{@}}
4904 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4906 For both, there is a shorthand:
4908 @code{@{} @var{musicexprlist} @code{@}}
4912 @code{<} @var{musicexprlist} @code{>}
4914 for simultaneous music.
4915 In principle, the way in which you nest sequential and simultaneous to
4916 produce music is not relevant. In the following example, three chords
4917 are expressed in two different ways:
4919 @lilypond[fragment,verbatim,center]
4920 \notes \context Voice {
4921 <a c'> <b d' > <c' e'>
4922 < { a b c' } { c' d' e' } >
4927 Other compound music expressions include
4930 \transpose @var{pitch} @var{expr}
4931 \apply @var{func} @var{expr}
4932 \context @var{type} = @var{id} @var{expr}
4933 \times @var{fraction} @var{expr}
4937 @c . {Manipulating music expressions}
4938 @node Manipulating music expressions
4939 @subsection Manipulating music expressions
4941 The @code{\apply} mechanism gives you access to the internal
4942 representation of music. You can write Scheme-functions that operate
4943 directly on it. The syntax is
4945 \apply #@var{func} @var{music}
4947 This means that @var{func} is applied to @var{music}. The function
4948 @var{func} should return a music expression.
4950 This example replaces the text string of a script. It also shows a dump
4951 of the music it processes, which is useful if you want to know more
4952 about how music is stored.
4954 @lilypond[verbatim,singleline]
4955 #(define (testfunc x)
4956 (if (equal? (ly-get-mus-property x 'text) "foo")
4957 (ly-set-mus-property x 'text "bar"))
4959 (ly-set-mus-property x 'elements
4960 (map testfunc (ly-get-mus-property x 'elements)))
4965 \apply #testfunc { c'4_"foo" }
4969 For more information on what is possible, see the automatically
4970 generated documentation.
4973 Directly accessing internal representations is dangerous: the
4974 implementation is subject to changes, so you should avoid this feature
4977 A final example is a function that reverses a piece of music in time:
4979 @lilypond[verbatim,singleline]
4980 #(define (reverse-music music)
4981 (let* ((elements (ly-get-mus-property music 'elements))
4982 (reversed (reverse elements))
4983 (span-dir (ly-get-mus-property music 'span-direction)))
4984 (ly-set-mus-property music 'elements reversed)
4986 (ly-set-mus-property music 'span-direction (- span-dir)))
4987 (map reverse-music reversed)
4990 music = \notes { c'4 d'4( e'4 f'4 }
4992 \score { \context Voice {
4994 \apply #reverse-music \music
4999 More examples are given in the distributed example files in
5002 @c . {Span requests}
5008 @subsubsection Span requests
5009 @cindex Span requests
5011 Notational constructs that start and end on different notes can be
5012 entered using span requests. The syntax is as follows:
5016 \spanrequest @var{startstop} @var{type}
5020 @cindex @code{\start}
5021 @cindex @code{\stop}
5023 This defines a spanning request. The @var{startstop} parameter is either
5024 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
5025 describes what should be started. Much of the syntactic sugar is a
5026 shorthand for @code{\spanrequest}, for example,
5028 @lilypond[fragment,verbatim,center]
5029 c'4-\spanrequest \start "slur"
5030 c'4-\spanrequest \stop "slur"
5033 Among the supported types are @code{crescendo}, @code{decrescendo},
5034 @code{beam}, @code{slur}. This is an internal command. Users are
5035 encouraged to use the shorthands which are defined in the initialization
5036 file @file{spanners.ly}.
5041 @subsection Assignments
5044 Identifiers allow objects to be assigned to names during the parse
5045 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
5046 and to refer to an identifier, you precede its name with a backslash:
5047 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
5048 the input-types listed above. Identifier assignments can appear at top
5049 level in the LilyPond file, but also in @code{\paper} blocks.
5051 An identifier can be created with any string for its name, but you will
5052 only be able to refer to identifiers whose names begin with a letter,
5053 being entirely alphabetical. It is impossible to refer to an identifier
5054 whose name is the same as the name of a keyword.
5056 The right hand side of an identifier assignment is parsed completely
5057 before the assignment is done, so it is allowed to redefine an
5058 identifier in terms of its old value, e.g.
5064 When an identifier is referenced, the information it points to is
5065 copied. For this reason, an identifier reference must always be the
5066 first item in a block.
5070 \paperIdent % wrong and invalid
5074 \paperIdent % correct
5079 @c . {Lexical modes}
5081 @subsection Lexical modes
5082 @cindex Lexical modes
5085 @cindex @code{\notes}
5086 @cindex @code{\chords}
5087 @cindex @code{\lyrics}
5089 To simplify entering notes, lyrics, and chords, LilyPond has three
5090 special input modes in addition to the default mode: note, lyrics and
5091 chords mode. These input modes change the way that normal, unquoted
5092 words are interpreted: for example, the word @code{cis} may be
5093 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
5094 major triad respectively.
5096 A mode switch is entered as a compound music expression
5098 @code{\notes} @var{musicexpr}
5099 @code{\chords} @var{musicexpr}
5100 @code{\lyrics} @var{musicexpr}.
5103 In each of these cases, these expressions do not add anything to the
5104 meaning of their arguments. They just instruct the parser in what mode
5105 to parse their arguments. The modes are treated in more detail in
5106 @ref{Lyrics} and @ref{Chords}.
5108 Different input modes may be nested.
5112 @subsection Ambiguities
5117 The grammar contains a number of ambiguities. We hope to resolve them at
5121 @item The assignment
5126 is interpreted as the string identifier assignment. However,
5127 it can also be interpreted as making a string identifier @code{\foo}
5128 containing @code{"bar"}, or a music identifier @code{\foo}
5129 containing the syllable `bar'.
5131 @item If you do a nested repeat like
5143 then it is ambiguous to which @code{\repeat} the
5144 @code{\alternative} belongs. This is the classic if-then-else
5145 dilemma. It may be solved by using braces.
5147 @item The parser is not sophisticated enough to distinguish at the
5149 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
5156 @c . {Lexical details}
5157 @node Lexical details
5158 @section Lexical details
5160 Even more boring details, now on lexical side of the input parser.
5171 * Version information::
5176 @subsection Comments
5179 @cindex block comment
5180 @cindex line comment
5184 A one line comment is introduced by a @code{%} character.
5185 Block comments are started by @code{%@{} and ended by @code{%@}}.
5186 They cannot be nested.
5189 @subsection Direct Scheme
5193 @cindex Scheme, in-line code
5196 LilyPond contains a Scheme interpreter (the GUILE library) for
5197 internal use. In some places, Scheme expressions also form valid syntax:
5198 wherever it is allowed,
5202 evaluates the specified Scheme code. Example:
5204 \property Staff.TestObject \override #'foobar = #(+ 1 2)
5206 @code{\override} expects two Scheme expressions, so there are two Scheme
5207 expressions. The first one is a symbol (@code{foobar}), the second one
5208 an integer (namely, 3).
5210 In-line scheme may be used at the top level. In this case the result is
5213 Scheme is a full-blown programming language, and a full discussion is
5214 outside the scope of this document. Interested readers are referred to
5215 the website @uref{http://www.schemers.org/} for more information on
5220 @subsection Keywords
5224 Keywords start with a backslash, followed by a number of lower case
5225 alphabetic characters. These are all the keywords.
5228 apply arpeggio autochange spanrequest commandspanrequest
5229 simultaneous sequential accepts alternative bar breathe
5230 char chordmodifiers chords clef cm consists consistsend
5231 context denies duration dynamicscript elementdescriptions
5232 font grace header in lyrics key mark pitch
5233 time times midi mm name pitchnames notes outputproperty
5234 override set revert partial paper penalty property pt
5235 relative remove repeat addlyrics partcombine score
5236 script stylesheet skip textscript tempo translator
5241 @subsection Integers
5249 Formed from an optional minus sign followed by digits. Arithmetic
5250 operations cannot be done with integers, and integers cannot be mixed
5255 @cindex real numbers
5261 Formed from an optional minus sign and a sequence of digits followed
5262 by a @emph{required} decimal point and an optional exponent such as
5263 @code{-1.2e3}. Reals can be built up using the usual operations:
5264 `@code{+}', `@code{-}', `@code{*}', and
5265 `@code{/}', with parentheses for grouping.
5273 A real constant can be followed by one of the dimension keywords:
5274 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
5275 points, inches and centimeters, respectively. This converts the number
5276 a number that is the internal representation of that dimension.
5284 Begins and ends with the @code{"} character. To include a @code{"}
5285 character in a string write @code{\"}. Various other backslash
5286 sequences have special interpretations as in the C language. A string
5287 that contains no spaces can be written without the quotes. Strings can
5288 be concatenated with the @code{+} operator.
5292 @subsection Main input
5295 @cindex @code{\maininput}
5297 The @code{\maininput} command is used in init files to signal that the
5298 user file must be read. This command cannot be used in a user file.
5300 @node File inclusion
5301 @subsection File inclusion
5302 @cindex @code{\include}
5304 \include @var{filename}
5307 Include @var{filename}. The argument @var{filename} may be a quoted string (an
5308 unquoted string will not work here!) or a string identifier. The full
5309 filename including the @file{.ly} extension must be given,
5312 @node Version information
5313 @subsection Version information
5314 @cindex @code{\version}
5316 \version @var{string}
5319 Specify the version of LilyPond that a file was written for. The
5320 argument is a version string in quotes, for example @code{"1.2.0"}.
5321 This is used to detect invalid input, and to aid
5322 @code{convert-ly} a tool that automatically upgrades input files. See
5323 See @ref{convert-ly} for more information on @code{convert-ly}.
5331 @c broken with emacs-21
5332 @c {Local emac s vars}
5333 @c Local varia bles:
5335 @c minor-mod e: font-lock
5336 @c minor-mo de: outline
5337 @c outline -layout: (-1 : 0)
5338 @c outlin e-use-mode-specific-leader: "@c \."
5339 @c outli ne-primary-bullet: "{"
5340 @c outli ne-stylish-prefixes: nil
5341 @c outli ne-override-protect: t