3 @c - Reinsert subsection commands that were lost in the
4 @c ancient conversion from YODL! /MB
5 @c - Restructure! Separate internal commands from user level commands. /MB
6 @c - Add some words about Guile. /MB
7 @c - Fix indexing (keyindex) so it doesn't add line breaks /MB
9 @node Reference Manual, , , Top
10 @chapter Reference Manual
14 * Top level:: Top level
15 * Pitch names:: Pitch names
16 * Lexical conventions:: Lexical conventions
17 * Other languages:: Note names in various languages
18 * Lexical modes:: modes
20 * Music expressions:: Music expressions
21 * Atomic music expressions:: Atomic music expressions
22 * Note specification:: notedesc
24 * Manual beams:: Manual beam
25 * stem tremolo:: tremolo
26 * Compound music expressions:: Compound music expressions
29 * transpose:: transpose
30 * Ambiguities:: Ambiguities
31 * Notation conversion specifics:: Notation conversion specifics
33 * lyricprint:: lyricprint
34 * Notation Contexts:: Notation Contexts
35 * Properties:: Changing formatting
36 * Notation output definitions:: Notation output definitions
38 * Paper variables:: papervars
39 * contextdefs:: contextdefs
40 * Sound output:: Sound output
42 * Grobs:: Graphical objects
43 * Pre-defined Identifiers:: Pre-defined Identifiers
44 @c May be fragile. Better make single link to generated doco?
45 * Interpretation contexts:(lilypond-internals)LilyPond interpretation contexts.
46 * Engravers:(lilypond-internals)LilyPond engravers.
47 * Backend:(lilypond-internals)LilyPond backend.
52 @node Overview, , , Reference Manual
55 This document@footnote{This document has been revised for LilyPond 1.2.}
56 describes the the GNU LilyPond input format This format represents a
57 piece of music in an elegant way, but contains enough information for
58 both automatic typesetting and automatic performances.
60 LilyPond input can be classified into three types:
62 @item musical expressions: a musical expression is some combination of
64 @item output definitions: recipes for translating those musical
65 expressions into performances (MIDI) or graphics (eg. PostScript).
67 @item declarations: by declaring and naming musical expressions, you
68 can enter and edit them in manageable chunks.
73 @node Top level, , , Reference Manual
78 This section describes what you may enter at top level.
82 @cindex score definition
84 The output is generated combining a music expression with an output
85 definition. A score block has the following syntax:
88 \score @{ @var{musicexpr} @var{outputdefs} @}
91 @var{outputdefs} are zero or more output definitions. If no output
92 definition is supplied, the default @code{\paper} block will be added.
101 \header @{ @var{key1} = @var{val1};
102 @var{key2} = @var{val2}; @dots{} @}
105 A header describes the file's contents. It can also appear in a
106 @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
107 information for generating titles. Key values that are used by
108 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
109 metre, arranger, piece and tagline.
111 It is customary to put the @code{\header} at the top of the file.
114 @node Pitch names, , , Reference Manual
116 Note names and chord modifiers can be customised for nationalities.
117 languages and conventions. The syntax is as follows.
119 \pitchnames @keyindex{pitchnames} @var{scheme-alist}
120 \chordmodifiers@keyindex{chordmodifiers} @var{scheme-alist}
123 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
124 specific examples how to do this. tables can be tailored specified
125 using. Some national note names have been provided, see @ref{Other
128 A @code{\paper} block at top level sets the default paper block. A
129 @code{\midi} block at top level works similarly.
133 Identifier assignments may appear at top level. Semicolons are
134 forbidden after top level assignments.
138 @node Lexical conventions, , , Reference Manual
139 @section Lexical conventions
141 @cindex lexical conventions
150 A one line comment is introduced by a `@code{%}' character.
151 Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
152 They cannot be nested.
156 LilyPond contains a Scheme interpreter (the GUILE library) for
157 internal use. The interpreter is accessed by the pound sign:
159 Whereever the syntax allows Scheme expressions, you may enter one as
165 Evaluates the specified Scheme code. If this is used at toplevel, then
166 the result is discarded. Example:
168 \property Staff.TestObject \override #'symbol = #(+ 1 2)
171 (in this case, @code{\override} expects two Scheme expressions.
173 [refer appendix/ online intro on Scheme]
177 Keywords start with a backslash, followed by a number of lower case
178 alphabetic characters. These are all the keywords.
181 apply arpeggio autochange spanrequest commandspanrequest
182 simultaneous sequential accepts alternative bar breathe
183 char chordmodifiers chords clef cm consists consistsend
184 context denies duration dynamicscript elementdescriptions
185 font grace header in lyrics key mark musicalpitch
186 time times midi mm name pitchnames notes outputproperty
187 override set revert partial paper penalty property pt
188 relative remove repeat addlyrics partcombine score
189 script stylesheet skip textscript tempo translator
195 Formed from an optional minus sign followed by digits. Arithmetic
196 operations cannot be done with integers, and integers cannot be mixed
202 Formed from an optional minus sign and a sequence of digits followed
203 by a @emph{required} decimal point and an optional exponent such as
204 @code{-1.2e3}. Reals can be built up using the usual operations:
205 `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
206 `@code{/}@indexcode{/}', with parentheses for grouping.
208 A real constant can be followed by one of the dimension
211 @code{\mm}@keyindex{mm},
212 @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
213 @code{\cm}@keyindex{cm}, for millimeters, points, inches and
214 centimeters, respectively. This converts the number to a real that
215 is the internal representation of dimensions.
222 Begins and ends with the `@code{"}' character. To include a `@code{"}'
223 character in a string write `@code{\"}'. Various other backslash
224 sequences have special interpretations as in the C language. A string
225 that contains no spaces can be written without the quotes. See
226 @ref{Lexical modes} for details on unquoted strings; their interpretation varies
227 depending on the situation. Strings can be concatenated with the
231 The tokenizer accepts the following commands. They have no grammatical
232 function, hence they can appear anywhere in the input.
235 \maininput@keyindex{maininput}
238 This command is used in init files to signal that the user file must
239 be read. This command cannot be used in a user file.
242 \include@keyindex{include} @var{file}
245 Include @var{file}. The argument @var{file} may be a quoted string (an
246 unquoted string will not work here!) or a string identifier. The full
247 filename including the @file{.ly} extension must be given,
250 \version@keyindex{version} @var{string} ;
253 Specify the version of LilyPond that a file was written for. The
254 argument is a version string in quotes, for example @code{"1.2.0"}.
255 This is used to detect invalid input, and to aid
256 @code{convert-ly}, a tool that automatically upgrades input files.
260 @cindex other languages
262 @node Other languages, , , Reference Manual
264 Note name definitions have been provided in various languages.
265 Simply include the language specific init file. For example:
266 `@code{\include "english.ly"}'. The available language files and the
267 names they define are:
270 Note Names sharp flat
271 nederlands.ly c d e f g a bes b -is -es
272 english.ly c d e f g a bf b -s/-sharp -f/-flat
273 deutsch.ly c d e f g a b h -is -es
274 norsk.ly c d e f g a b h -iss/-is -ess/-es
275 svenska.ly c d e f g a b h -iss -ess
276 italiano.ly do re mi fa sol la sib si -d -b
277 catalan.ly do re mi fa sol la sib si -d/-s -b
280 Pitch names can be redefined using the @code{\pitchnames} command, see
283 @cindex Lexical Modes
287 @node Lexical modes, , , Reference Manual
289 To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three
290 special input modes on top of the default mode. In each mode, words
291 are identified on the input. If @code{"word"} is encountered, it is
292 treated as a string. If @code{\word} is encountered, it is treated as
293 a keyword or as an identifier. The behavior of the modes differs in
294 two ways: Different modes treat unquoted words differently, and
295 different modes have different rules for deciding what is a word.
301 At the start of parsing, @emph{Lilypond} is in Normal mode. In Normal
302 mode, a word is an alphabetic character followed by alphanumeric
303 characters. If @code{word} is encountered on the input it is
309 Note mode is introduced by the keyword
310 @code{\notes}@keyindex{notes}. In Note mode, words can only
311 contain alphabetic characters. If @code{word} is encountered,
312 LilyPond first checks for a notename of @code{word}. If no
313 notename is found, then @code{word} is treated as a string.
315 Since combinations of numbers and dots are used for indicating
316 durations, it is not possible to enter real numbers in this mode.
321 Chord mode is introduced by the keyword
322 @code{\chords}@keyindex{chords}. It is similar to Note mode, but
323 words are also looked up in a chord modifier table (containing
324 @code{maj}, @code{dim}, etc).
326 Since combinations of numbers and dots are used for indicating
327 durations, you can not enter real numbers in this mode. Dashes
328 and carets are used to indicate chord additions and subtractions,
329 so scripts can not be entered in Chord mode.
334 Lyrics mode is introduced by the keyword
335 @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
336 easy to include punctuation and diacritical marks in words. A
337 word in Lyrics mode begins with: an alphabetic character,
338 `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
339 control characters @code{^A} through @code{^F}, @code{^Q} through
340 @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
341 over 127, or a two-character combination of a backslash followed
342 by one of `@code{`}', `@code{'}', `@code{"}', or
343 `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
344 enter lyrics in @TeX{} format or a standard encoding without
345 needing quotes. The precise definition of this mode indeed is
346 ludicrous. This will remain so until the authors of LilyPond
347 acquire a deeper understanding of character encoding, or someone
348 else steps up to fix this.}
350 Subsequent characters of a word can be any character that is not
351 a digit and not white space. One important consequence of this
352 is that a word can end with `@code{@}}', which may be confusing if
353 you thought the closing brace was going to terminate Lyrics
354 mode.@footnote{LilyPond will issue a warning, though.} Any
355 `@code{_}' character which appears in an unquoted word is
356 converted to a space. This provides a mechanism for introducing
357 spaces into words without using quotes. Quoted words can also be
358 used in Lyrics mode to specify words that cannot be written with
359 the above rules. Here are some examples. Not all of these words
360 are printable by @TeX{}.
364 2B_||_!2B % not a word because it starts with a digit
365 ``Hello'' % not a word because it starts with `
366 _ _ _ _ % 4 words, each one a space
369 Since combinations of numbers and dots are used for indicating
370 durations, you can not enter real numbers in this mode.
373 [todo: include short table showign differences]
375 @node Types, , , Reference Manual
380 [say something about types]
382 All of the information in a LilyPond input file, is represented as a
383 Scheme value. In addition to normal Scheme data types (such as pair,
384 number, boolean, etc.), LilyPond has a number of specialized data types,
389 @item Music: see @ref{Music expressions}
391 @item Translator_def:
392 See section @ref{contextdefs} for more information
396 @item Score (TODO, smobme)
397 @item Music_output_def (TODO, smobme)
399 @item Moment (rational number)
402 LilyPond also includes some transient object types. Objects of these
403 types are built during a LilyPond run, and do not `exist' per se within
404 your input file. These objects are created as a result of your input
405 file, so you can include commands in the input to manipulate them,
406 during a lilypond run .
409 @item Grob: short for Graphical object. See @ref{Grobs}.
410 @item Molecule: device-independent paper output object,
411 including dimensions. Produced by some Grob functions
412 @item Translator: object that produces audio objects or Grobs
414 @item Font_metric: object representing a font. (Not yet user accessible.)
415 @item Audio_element: (TODO, smobme)
418 Identifiers allow objects to be assigned to names during the parse
419 stage. To assign an identifier, you use `@var{name}=@var{value}' and to
420 refer to an identifier, you preceed its name with a backslash:
421 `@code{\}@var{name}'. Identifier assignments must appear at top level
422 in the @emph{Lilypond} file. Semicolons are forbidden after assignments
423 appearing at top level but they are obligatory after assignments
424 appearing in the @code{\paper} block, see Section @ref{paper}.
426 @var{value} is any valid Scheme value or any of the input-types listed
429 An identifier can be created with any string for its name, but you
430 will only be able to refer to identifiers whose names begin with a
431 letter, being entirely alphanumeric. It is impossible to refer to an
432 identifier whose name is the same as the name of a keyword.
434 The right hand side of an identifier assignment is parsed completely
435 before the assignment is done, so it is allowed to redefine an
436 identifier in terms of its old value, e.g.
442 When an identifier is referenced, the information it points to is
443 copied. For this reason, an identifier reference must always be the
444 first item in a block.
448 \paperIdent % wrong and invalid
452 \paperIdent % correct
458 @node Music expressions, , , Reference Manual
459 @section Music expressions
461 @cindex music expressions
463 Music in @emph{Lilypond} is entered as a music expression. Notes, rests,
464 lyric syllables are music expressions (the atomic
466 @cindex atomic music expressions
467 , and you can combine
468 music expressions to form new ones. This example forms a compound
469 expressions out of the quarter @code{c} note and a @code{d}
473 \sequential @{ c4 d4 @}
476 The meaning of this compound expression is to play the `@code{c}'
477 first, and then the `@code{d}' (as opposed to playing them
478 simultaneously, for instance).
480 Atomic music expression are discussed in
481 subsection @ref{Atomic music expressions}. Compound music expressions are
482 discussed in subsection @ref{Compound music expressions}.
486 @node Atomic music expressions, , , Reference Manual
487 @section Atomic music expressions
497 The syntax for pitch specification is
501 \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
504 @var{octave} is specified by an integer, zero for the octave
505 containing middle C. @var{note} is a number from 0 to 7, with 0
506 corresponding to C and 7 corresponding to B. The shift is zero for a
507 natural, negative to add flats, or positive to add sharps.
509 In Note and Chord mode, pitches may be designated by names. See
510 section @ref{Other languages} for pitch names in different languages.
512 The syntax for duration specification is
515 \duration@keyindex{duration}
516 @{ @var{length} @var{dotcount} @}
519 @var{length} is the negative logarithm (base 2) of the duration:
520 1 is a half note, 2 is a quarter note, 3 is an eighth
521 note, etc. The number of dots after the note is given by
524 In Note, Chord, and Lyrics mode, durations may be designated by
528 @node Note specification, , , Reference Manual
530 @cindex note specification
534 @cindex entering notes
536 A note specification has the form
539 @var{pitch}[@var{octavespec}][!][?][@var{duration}]
542 The pitch of the note is specified by the note's name.
545 The default names are the Dutch note names. The notes are specified
546 by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
547 octave below middle C and the letters span the octave above that C.
549 @cindex notenames!Dutch
550 a sharp is formed by adding `@code{-is}' to the end of a pitch name. A
551 flat is formed by adding `@code{-es}'. Double sharps and double flats
552 are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}'
553 and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch,
554 but both forms will be accepted.
556 LilyPond has predefined sets of notenames for various languages. See
557 @ref{Other languages}.
561 The optional octave specification takes the form of a series of
562 single quote (`@code{'}@indexcode{'}') characters or a series of comma
563 (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
564 octave; each @code{,} lowers the pitch by an octave.
566 @lilypond[fragment,verbatim,center]
567 c' d' e' f' g' a' b' c''
570 @lilypond[fragment,verbatim,center]
571 cis' dis' eis' fis' gis' ais' bis'
574 @lilypond[fragment,verbatim,center]
575 ces' des' es' fes' ges' as' bes'
578 @lilypond[fragment,verbatim,center]
579 cisis' eisis' gisis' aisis' beses'
582 @lilypond[fragment,verbatim,center]
583 ceses' eses' geses' ases' beses'
586 Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
587 will determine what accidentals to typeset depending on the key and
588 context. A reminder accidental
589 @cindex reminder accidental
591 forced by adding an exclamation mark `@code{!}' after the pitch. A
592 cautionary accidental,
593 @cindex cautionary accidental
595 accidental within parentheses can be obtained by adding the question
596 mark `@code{?}@indexcode{?}' after the pitch.
598 @lilypond[fragment,verbatim,center]
599 cis' d' e' cis' c'? d' e' c'!
605 Durations are entered as their reciprocal values. For notes longer
606 than a whole note, use identifiers.
612 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
621 \notes \relative c'' {
623 a1 a2 a4 a8 a16 a32 a64 a64
628 \remove "Clef_engraver";
629 \remove "Staff_symbol_engraver";
640 r1 r2 r4 r8 r16 r32 r64 r64
649 \notes \relative c'' {
651 r1 r2 r4 r8 r16 r32 r64 r64
654 loose_column_distance = 2.5 * \staffspace;
658 \remove "Clef_engraver";
659 \remove "Staff_symbol_engraver";
660 \remove "Bar_engraver";
667 If the duration is omitted then it is set equal to the previous
668 duration. If there is no previous duration, a quarter note is
669 assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
670 to obtain dotted note lengths.
672 @lilypond[fragment,verbatim,center]
676 You can alter the length of duration by writing
677 `@code{*}@var{fraction}' after it. This will not affect the
678 appearance of note heads or rests.
681 Rests are entered like notes, with note name `@code{r}@indexcode{r}',
682 or `@code{R}@indexcode{R}'. There is also a note name
683 `@code{s}@indexcode{s}', which produces a space of the specified
684 duration. `@code{R}' is specifically meant for entering parts: the
685 @code{R} rest can expand to fill a score with rests, or it can be
686 printed as a single multimeasure rest.
688 You can control the expansion by setting the property
689 @code{Score.skipBars}. If this is set to true, Lily will not expand
690 empty measures, and the multimeasure rests automatically adds the
694 @cindex lyrics expressions
696 Syllables are entered like notes, with pitches replaced by text. For
697 example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
698 with quarter note duration. Note that the hyphen has no special
699 meaning for lyrics, and does not introduce special symbols. See
700 section @ref{Lexical modes} for a description of what is interpreted as
703 Spaces can be introduced into a lyric either by using quotes
704 (`@code{"}') or by using an underscore without quotes: `@code{He_could4
705 not4}'. All unquoted underscores are converted to spaces. Printing
706 lyrics is discussed in section @ref{lyricprint}.
713 \property@keyindex{property}
714 @var{contextname}.@var{propname} = @var{value}
717 Sets the @var{propname} property of the context @var{contextname} to
718 the specified @var{value}. All three arguments are strings.
719 Depending on the context, it may be necessary to quote the strings or
720 to leave space on both sides of the dot.
724 @cindex translator switches
727 \translator@keyindex{translator}
728 @var{contexttype} = @var{name}
731 A music expression indicating that the context which is a direct
732 child of the a context of type @var{contexttype} should be shifted to
733 a context of type @var{contexttype} and the specified name.
735 Usually this is used to switch staffs in Piano music, e.g.
738 \translator Staff = top @var{Music}
742 @cindex output properties
745 These allow you to tweak what is happening in the back-end
746 directly. If you want to control every detail of the output
747 formatting, this is the feature to use. The downside to this is that
748 you need to know exactly how the backend works. Example:
751 @lilypond[fragment,verbatim]
753 \context Staff \outputproperty
754 #(make-type-checker 'Note_head)
755 #'extra-offset = #'(5.0 . 7.5)
759 This selects all note heads occurring at current staff level, and sets
760 the extra-offset of those heads to (5,7.5), shifting them up and
763 Use of this feature is entirely on your own risk: if you use this, the
764 result will depend very heavily on the implementation of the backend,
765 which we change regularly and unscrupulously.
770 Commands are music expressions that have no duration.
775 @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
778 Change the key signature. @var{type} should be
779 @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
780 @var{pitch}-major or @var{pitch}-minor, respectively. The second
781 argument is optional; the default is major keys. The @var{\context}
782 argument can also be given as an integer, which tells the number of
783 semitones that should be added to the pitch given in the subsequent
784 @code{\key}@keyindex{key} commands to get the corresponding major key,
785 e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
786 mode names @code{\ionian}@keyindex{ionian},
787 @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
788 @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
789 @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
793 @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
796 Specify an arbitrary key signature. The pitches from @var{pitch} will
797 be printed in the key signature in the order that they appear on the
801 \mark@keyindex{mark} @var{unsigned};
805 Prints a mark over or under the staff. You must add
806 @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for
809 @node barlines, , , Reference Manual
812 \bar@keyindex{bar} @var{bartype};
815 This is a short-cut for doing
817 \property Score.whichBar = @var{bartype}
820 You are encouraged to use @code{\repeat} for repetitions. See
821 @ref{Repeats}, and the documentation of @code{whichBar}.
825 \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
828 A short-cut for doing
830 \property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
833 See the documentation of @code{timeSignatureFraction}
837 \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
840 Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
841 requests output with 76 quarter notes per minute.
844 \partial@keyindex{partial} @var{duration} @code{;}
850 \property Score.measurePosition = @var{length of duration}
853 See the documentation of @code{measurePosition}.
861 @code{|}@indexcode{|}
866 @cindex shorten measures
870 `@code{|}' is a bar check. Whenever a bar check is encountered during
871 interpretation, a warning message is issued if it doesn't fall at a
872 measure boundary. This can help you finding errors in the input.
873 Depending on the value of @code{barCheckNoSynchronize}
874 @indexcode{barCheckNoSynchronize} The beginning of the measure will be
875 relocated, so this can also be used to shorten measures.
880 \penalty@keyindex{penalty} @var{int} @code{;}
883 Discourage or encourage line breaks. See identifiers
884 @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
885 section [on identifiers] [FIXME].
888 \clef@keyindex{clef} @var{clefname} @code{;}
894 \property Clef.clefGlyph = @var{symbol associated with clefname}
895 \property Clef.clefPosition = @var{clef Y-position for clefname}
896 \property Clef.clefOctavation = @var{extra pitch of clefname}
899 Supported clef-names include
905 \skip@keyindex{skip} @var{duration} @code{;}
908 Skips the amount of time specified by @var{duration}. If no other
909 music is played, a gap will be left for the skipped time with no
910 notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
911 this has the same effect as the space rest `@code{s}'.
916 @node Manual beams, , , Reference Manual
918 A beam is specified by surrounding the beamed notes with brackets
919 `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
921 @lilypond[fragment,verbatim,center]
922 [a'8 a'] [a'16 a' a' a']
925 Some more elaborate constructions:
927 @lilypond[fragment,verbatim,center]
928 [a'16 <a' c''> c'' <a' c''>]
929 \times 2/3 { [e'8 f' g'] }
932 Beaming can be generated automatically; see section @ref{autobeam}.
936 To place tremolo marks between notes, use @code{\repeat} with tremolo
938 @cindex tremolo beams
939 To create tremolo beams on a single note, simply attach
940 `@code{:}@var{length}' to the note itself.
942 @lilypond[fragment,verbatim,center]
943 \repeat "tremolo" 8 { c16 d16 }
944 \repeat "tremolo" 4 { c16 d16 }
947 @lilypond[fragment,verbatim,center]
952 @cindex --@@@code{-}@code{-}
960 The syntax for an extender mark is `@code{__}'. This syntax can only
961 be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
962 a hyphen that will be printed between two lyric syllables) is
968 A tie connects two adjacent note heads of the same pitch. When used
969 with chords, it connects all of the note heads whose pitches match.
970 Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
971 If you try to tie together chords which have no common pitches, a
972 warning message will appear and no ties will be created.
974 @lilypond[fragment,verbatim,center]
975 e' ~ e' <c' e' g'> ~ <c' e' g'>
980 [TODO: explain Requests]
983 @cindex articulations
989 A variety of symbols can appear above and below notes to indicate
990 different characteristics of the performance. These symbols can be
991 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
992 are defined in @file{script.ly} and @file{script.scm}. Symbols can be
993 forced to appear above or below the note by writing
994 `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
995 respectively. Here is a chart showing symbols above notes, with the
996 name of the corresponding symbol appearing underneath.
1002 c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
1003 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1004 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1005 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1006 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1007 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1008 c''-\thumb c''-\segno c''-\coda
1010 \context Lyrics \lyrics {
1011 accent__ marcato__ staccatissimo__ fermata
1012 stopped__ staccato__ tenuto__ upbow
1013 downbow__ lheel__ rheel__ ltoe
1014 rtoe__ turn__ open__ flageolet
1015 reverseturn__ trill__ prall__ mordent
1016 prallprall__ prallmordent__ uprall__ downprall
1017 thumb__ segno__ coda
1021 linewidth = 5.875\in;
1028 In addition, it is possible to place arbitrary strings of text or
1029 @TeX{} above or below notes by using a string instead of an
1030 identifier: `@code{c^"text"}'. Fingerings
1033 placed by simply using digits. All of these note ornaments appear in
1034 the printed output but have no effect on the MIDI rendering of the
1037 To save typing, fingering instructions (digits 0 to 9 are
1038 supported) and single characters shorthands exist for a few
1045 \property Voice.textStyle = typewriter
1051 c''4-^_"c-\\^{ }" s4
1058 linewidth = 5.875 \in;
1065 Dynamic marks are specified by using an identifier after a note:
1066 `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
1067 The available dynamic marks are:
1068 @code{\ppp}@keyindex{ppp},
1069 @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
1070 @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
1071 @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
1072 @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
1073 @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
1074 @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
1075 @code{\rfz}@keyindex{rfz}.
1080 \textscript@keyindex{textscript} @var{text} @var{style}
1083 Defines a text to be printed over or under a note. @var{style} is a
1084 string that may be one of @code{roman}, @code{italic}, @code{typewriter},
1085 @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
1087 You can attach a general textscript request using this syntax:
1092 c4-\textscript "6" "finger"
1093 c4-\textscript "foo" "normal"
1098 This is equivalent to `@code{c4-6 c4-"foo"}'.
1105 \script@keyindex{script} @var{alias}
1108 Prints a symbol above or below a note. The argument is a string
1109 which points into the script-alias table defined in @file{script.scm}.
1110 The scheme definitions specify whether the symbol follows notes into
1111 the staff, dependence of symbol placement on staff direction, and a
1112 priority for placing several symbols over one note. Usually the
1113 @code{\script}@keyindex{script} keyword is not used directly. Various
1114 helpful identifier definitions appear in @file{script.ly}.
1119 Slurs connects chords and try to avoid crossing stems. A slur is
1120 started with `@code{(}' and stopped with `@code{)}'. The
1121 starting `@code{(}' appears to the right of the first note in
1122 the slur. The terminal `@code{)}' appears to the left of the
1123 first note in the slur. This makes it possible to put a note in
1124 slurs from both sides:
1126 @lilypond[fragment,verbatim,center]
1127 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1133 A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
1134 with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
1135 @code{\decr}@keyindex{decr} and terminated with
1136 @code{\rced}@keyindex{rced}. There are also shorthands for these
1137 marks. A crescendo can be started with @code{\<}@keyindex{<} and a
1138 decrescendo can be started with @code{\>}@keyindex{>}. Either one can
1139 be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
1140 must go before the last note of the dynamic mark whereas @code{\rc}
1141 and @code{\rced} go after the last note. Because these marks are
1142 bound to notes, if you want to get several marks during one note, you
1143 must use spacer notes.
1145 @lilypond[fragment,verbatim,center]
1146 c'' \< \! c'' d'' \decr e'' \rced
1147 < f''1 { s4 \< \! s2 \> \! s4 } >
1153 \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
1156 Define a spanning request. The @var{startstop} parameter is either -1
1157 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
1158 @var{type} is a string that describes what should be started.
1159 Supported types are @code{crescendo}, @code{decrescendo},
1160 @code{beam}, @code{slur}. This is an internal command. Users should
1161 use the shorthands which are defined in the initialization file
1164 You can attach a (general) span request to a note using
1166 @lilypond[fragment,verbatim,center]
1167 c'4-\spanrequest \start "slur"
1168 c'4-\spanrequest \stop "slur"
1171 The slur syntax with parentheses is a shorthand for this.
1175 @cindex tremolo marks
1177 @node stem tremolo, , , Reference Manual
1179 Tremolo marks can be printed on a single note by adding
1180 `@code{:}[@var{length}]' after the note. The length must be at
1181 least 8. A @var{length} value of 8 gives one line across
1182 the note stem. If the length is omitted, then the last value is
1183 used, or the value of the @code{tremoloFlags}@indexcode{tremoloFlags} property if there was
1186 @lilypond[verbatim,fragment,center]
1192 @node Compound music expressions, , , Reference Manual
1193 @section Compound music expressions
1195 @cindex compound music expressions
1197 Music expressions are compound data structures. You can nest music
1198 expressions any way you like. This simple example shows how three
1199 chords can be expressed in two different ways:
1201 @lilypond[fragment,verbatim,center]
1202 \notes \context Staff {
1204 <a c'> <b d' > <c' e'>
1205 < { a b c' } { c' d' e' } >
1209 @cindex context selection
1210 @c @keyindex{context}
1213 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1216 Interpret @var{musicexpr} within a context of type @var{contexttype}.
1217 If the context does not exist, it will be created. The new context
1218 can optionally be given a name.
1224 Mode switching keywords form compound music expressions: @code{\notes}
1225 @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
1226 @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
1227 These expressions do not add anything to the meaning of their
1228 arguments. They are just a way to indicate that the arguments should
1229 be parsed in indicated mode. See @ref{Lexical modes} for more
1230 information on modes.
1232 @cindex sequential music
1238 \sequential@keyindex{sequential}
1239 @code{@{} @var{musicexprlist} @code{@}}
1242 This means that list should be played or written in sequence, i.e.,
1243 the second after the first, the third after the second. The duration
1244 of sequential music is the the sum of the durations of the elements.
1245 There is a shorthand, which leaves out the keyword:
1249 @code{@{} @var{musicexprlist} @code{@}}
1254 @cindex simultaneous music
1261 \simultaneous@keyindex{simultaneous}
1262 @code{@{} @var{musicexprlist} @code{@}}
1265 It constructs a music expression where all of its arguments start at
1266 the same moment. The duration is the maximum of the durations of the
1267 elements. The following shorthand is a common idiom:
1271 @code{<} @var{musicexprlist} @code{>}
1274 If you try to use a chord as the first thing in your score, you might
1275 get multiple staffs instead of a chord.
1277 @lilypond[verbatim,center]
1286 This happens because the chord is interpreted by a score context.
1287 Each time a note is encountered a default Voice context (along with a
1288 Staff context) is created. The solution is to explicitly instantiate
1291 @lilypond[verbatim,center]
1293 \notes\context Voice <c''4 e''>
1302 @cindex relative pitch specification
1304 @node relative, , , Reference Manual
1306 It is easy to get confused by octave changing marks and accidentally
1307 putting a pitch in the wrong octave. A much better way of entering a
1308 note's octave is `the relative octave' mode.
1312 \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
1315 The octave of notes that appear in @var{musicexpr} are calculated as
1316 follows: If no octave changing marks are used, the basic interval
1317 between this and the last note is always taken to be a fourth or
1318 less.@footnote{The interval is determined without regarding
1319 accidentals. A @code{fisis} following a @code{ceses} will be put above
1320 the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
1321 can then be added to raise or lower the pitch by an extra octave.
1322 Upon entering relative mode, an absolute starting pitch must be
1323 specified that will act as the predecessor of the first note of
1326 Entering scales is straightforward in relative mode.
1328 @lilypond[fragment,verbatim,center]
1334 And octave changing marks are used for intervals greater than a fourth.
1336 @lilypond[fragment,verbatim,center]
1338 c g c f, c' a, e'' }
1341 If the preceding item is a chord, the first note of the chord is used
1342 to determine the first note of the next chord. But other notes
1343 within the second chord are determined by looking at the immediately
1346 @lilypond[fragment,verbatim,center]
1354 The pitch after the @code{\relative} contains a notename. To parse
1355 the pitch as a notename, you have to be in note mode, so there must
1356 be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
1359 The relative conversion will not affect @code{\transpose} or
1360 @code{\relative} sections in its argument. If you want to use
1361 relative within transposed music, you must place an additional
1362 @code{\relative} inside the @code{\transpose}.
1364 It is strongly recommended to use relative pitch mode: less work,
1365 less error-prone, and more readable.
1369 Chord names are a way to generate simultaneous music expressions that
1370 correspond with traditional chord names. It can only be used in
1371 Chord mode (see section @ref{Lexical modes}).
1375 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
1378 @var{tonic} should be the tonic note of the chord, and @var{duration}
1379 is the chord duration in the usual notation. There are two kinds of
1380 modifiers. One type is @emph{chord additions}, which are obtained by
1381 listing intervals separated by dots. An interval is written by its
1382 number with an optional `@code{+}' or `@code{-}' to indicate raising or
1383 lowering by half a step. Chord additions has two effects: It adds
1384 the specified interval and all lower odd numbered intervals to the
1385 chord, and it may lower or raise the specified interval. Intervals
1386 must be separated by a dot (`@code{.}').
1390 @lilypond[fragment,verbatim]
1394 c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
1401 The second type of modifier that may appear after the `@code{:}' is a
1402 named modifier. Named modifiers are listed in the file
1403 @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
1404 `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
1405 raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
1406 `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
1407 which replaces the 5th with a 4th.
1411 @lilypond[fragment,verbatim]
1414 c1:m c:min7 c:maj c:aug c:dim c:sus
1422 Chord subtractions are used to eliminate notes from a chord. The
1423 notes to be subtracted are listed after a `@code{^}' character,
1426 @lilypond[fragment,verbatim,center]
1434 Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
1435 the name of a single note to a chord. This has the effect of
1436 lowering the specified note by an octave so it becomes the lowest
1437 note in the chord. If the specified note is not in the chord, a
1438 warning will be printed.
1440 @lilypond[fragment,verbatim,center]
1449 Bass notes can be added by `@code{/+}@indexcode{/+}' and
1450 the name of a single note to a chord. This has the effect of
1451 adding the specified note to the chord, lowered by an octave,
1452 so it becomes the lowest note in the chord.
1454 @lilypond[fragment,verbatim,center]
1463 Throughout these examples, chords have been shifted around the staff
1464 using @code{\transpose}.
1466 You should not combine @code{\relative} with named chords.
1472 Tuplets are made out of a music expression by multiplying their
1473 duration with a fraction.
1477 \times@keyindex{times} @var{fraction} @var{musicexpr}
1480 The duration of @var{musicexpr} will be multiplied by the fraction.
1481 In print, the fraction's denominator will be printed over the notes,
1482 optionally with a bracket. The most common tuplet is the triplet in
1483 which 3 notes have the length of 2, so the notes are 2/3 of
1484 their written length:
1486 @lilypond[fragment,verbatim,center]
1487 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
1496 \grace@keyindex{grace} @var{musicexpr}
1499 A grace note expression has duration 0; the next real note is
1500 assumed to be the main note.
1502 You cannot have the grace note after the main note, in terms of
1503 duration, and main notes, but you can typeset the grace notes to the
1504 right of the main note using the property
1505 @code{graceAlignPosition}@indexcode{graceAlignPosition}.
1507 When grace music is interpreted, a score-within-a-score is set up:
1508 @var{musicexpr} has its own time bookkeeping, and you could (for
1509 example) have a separate time signature within grace notes. While in
1510 this score-within-a-score, you can create notes, beams, slurs, etc.
1511 Unbeamed eighth notes and shorter by default have a slash through the
1512 stem. This behavior can be controlled with the
1513 @code{flagStyle}@indexcode{flagStyle} property.
1517 @lilypond[fragment,verbatim]
1519 \grace c8 c4 \grace { [c16 c16] } c4
1520 \grace { \property Grace.flagStyle = "" c16 } c4
1526 At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
1530 @code{\grace @{ \grace c32 c16 @} c4}
1533 may result in run-time errors of LilyPond. Since the meaning of such
1534 a construct is unclear, we don't consider this a loss. Similarly,
1535 juxtaposing two @code{\grace} sections is syntactically valid, but
1536 makes no sense and may cause runtime errors.
1538 Ending a staff or score with grace notes may also generate a run-time
1539 error, since there will be no main note to attach the grace notes to.
1545 @node Repeats, , , Reference Manual
1547 In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
1548 keyword. Since repeats look and sound differently when played or
1549 printed, there are a few different variants of repeats.
1553 Repeated music is fully written (played) out. Useful for MIDI
1557 This is the normal notation: Repeats are not written out, but
1558 alternative endings (voltas) are printed, left to right.
1561 Alternative endings are written stacked, which is useful for
1565 The syntax for repeats is
1569 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1572 If you have alternative endings, you may add
1576 \alternative@keyindex{alternative}
1577 @code{@{} @var{alternative1}
1579 @var{alternative3} @dots{} @code{@}}
1582 where each @var{alternative} is a Music expression.
1584 Normal notation repeats are used like this:
1588 @lilypond[fragment,verbatim]
1590 \repeat volta 2 { c'4 d' e' f' }
1591 \repeat volta 2 { f' e' d' c' }
1596 With alternative endings:
1600 @lilypond[fragment,verbatim]
1602 \repeat volta 2 {c'4 d' e' f'}
1603 \alternative { {d'2 d'} {f' f} }
1608 Folded repeats look like this:@footnote{Folded repeats offer little
1609 more over simultaneous music. However, it is to be expected that
1610 more functionality -- especially for the MIDI backend -- will be
1615 @lilypond[fragment,verbatim]
1617 \repeat fold 2 {c'4 d' e' f'}
1618 \alternative { {d'2 d'} {f' f} }
1625 @lilypond[fragment,verbatim]
1629 \repeat volta 2 { e | c2 d2 | e2 f2 | }
1630 \alternative { { g4 g g } { a | a a a a | b1 } }
1637 If you don't give enough alternatives for all of the repeats, then
1638 the first alternative is assumed to be repeated often enough to equal
1639 the specified number of repeats.
1643 @lilypond[fragment,verbatim]
1646 \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
1647 \alternative { { g4 g g }
1648 {\partial 1; e4 e e }
1649 {\partial 1; a a a a | b1 } }
1656 It is possible to nest @code{\repeat}. This is not entirely
1657 supported: the notes will come be in the right places, but the repeat
1662 @cindex transposition of pitches
1664 @node transpose, , , Reference Manual
1666 A music expression can be transposed with
1667 @code{\transpose}@keyindex{transpose}. The syntax is
1671 \transpose @var{pitch} @var{musicexpr}
1674 This means that middle C in @var{musicexpr} is transposed to
1677 @code{\transpose} distinguishes between enharmonic pitches: both
1678 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
1679 a tone. The first version will print sharps and the second version
1684 @lilypond[fragment,verbatim]
1687 { \key e \major; c d e f }
1689 \transpose des'' { \key e \major; c d e f }
1690 \transpose cis'' { \key e \major; c d e f }
1696 If you want to use both @code{\transpose} and @code{\relative}, then
1697 you must use @code{\transpose} first. @code{\relative} will have no
1698 effect music that appears inside a @code{\transpose}.
1702 @cindex automatic lyric durations
1704 If you have lyrics that are set to a melody, you can import the
1705 rhythm of that melody into the lyrics using @code{\addlyrics}.
1706 @keyindex{addlyrics} The syntax for this is
1710 \addlyrics @var{musicexpr1 musicexpr2}
1713 This means that both @var{musicexpr1} and @var{musicexpr2} are
1714 interpreted, but that every non-command atomic music expression
1715 (``every syllable'') in @var{musicexpr2} is interpreted using timing
1716 of @var{musicexpr1}.
1718 If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
1719 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1724 @lilypond[verbatim,fragment]
1727 \property Voice.automaticMelismata = ##t
1728 c8 () cis d8. e16 f2
1730 \context Lyrics \lyrics {
1736 You should use a single rhythm melody, and single rhythm lyrics (a
1737 constant duration is the obvious choice). If you do not, you will get
1738 undesired effects when using multiple stanzas:
1742 @lilypond[verbatim,fragment]
1745 c8 () cis d8. e16 f2
1747 \context Lyrics \lyrics
1754 It is valid (but probably not very useful) to use notes instead of
1755 lyrics for @var{musicexpr2}.
1760 @node Ambiguities, , , Reference Manual
1761 @section Ambiguities
1765 The grammar contains a number of ambiguities.@footnote{The authors
1766 hope to resolve them at a later time.}
1769 @item The assignment
1775 can be interpreted as making a string identifier @code{\foo}
1776 containing @code{"bar"}, or a music identifier @code{\foo}
1777 containing the syllable `bar'.
1779 @item The assignment
1785 can be interpreted as making an integer identifier
1786 containing -6, or a Request identifier containing the
1787 fingering `6' (with neutral direction).
1789 @item If you do a nested repeat like
1801 then it is ambiguous to which @code{\repeat} the
1802 @code{\alternative} belongs. This is the classic if-then-else
1803 dilemma. It may be solved by using braces.
1805 @item (an as yet unidentified ambiguity :-)
1810 @node Notation conversion specifics, , , Reference Manual
1811 @section Notation conversion specifics
1815 @cindex automatic beam generation
1817 @node autobeam, , , Reference Manual
1819 By default, LilyPond will generate beams automatically. This feature
1820 can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
1821 property to 1. It can be overridden for specific cases by
1822 specifying explicit beams.
1825 A large number of Voice properties are used to decide how to generate
1826 beams. Their default values appear in @file{auto-beam-settings.ly}.
1827 In general, beams can begin anywhere, but their ending location is
1828 significant. Beams can end on a beat, or at durations specified by
1829 the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
1830 quarter note, for example, you could set
1831 @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
1832 at every three eighth notes you would set it to `@code{"3/8"}'. The
1833 same syntax can be used to specify beam starting points using
1834 @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
1836 To allow different settings for different time signatures, these
1837 property names can start with `@code{time}@var{N}@code{_}@var{M}' to
1838 restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
1839 to specify beams ending only for 6/8 time you would use the
1840 property @code{Voice.time6_8beamAutoEnd}. To allow different endings
1841 for notes of different durations, the duration can be tacked onto the
1842 end of the property. To specify beam endings for beams that contain
1843 32nd notes, you would use @code{Voice.beamAutoEnd_32}.
1851 @cindex printing!chord names
1853 For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
1854 and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
1855 either using the notation described above, or directly using
1860 @lilypond[fragment,verbatim]
1862 \context ChordNames {
1863 \chords{a b c} \notes{<d f g> <e g b>}
1865 \context Staff \notes {
1873 LilyPond examines chords specified as lists of notes to determine a
1874 name to give the chord. By default, LilyPond will not try to
1875 identify chord inversions:
1877 @lilypond[fragment,verbatim,center]
1879 \context ChordNameVoice \notes {
1882 \context Thread \notes {
1888 If you want inversions to be recognized, you must set the property
1889 @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
1891 @lilypond[fragment,verbatim,center]
1893 \property Score.chordInversion = ##t
1894 \context ChordNameVoice \notes {
1897 \context Thread \notes {
1907 @cindex printing!lyrics
1909 @node lyricprint, , , Reference Manual
1911 Lyric syllables must be interpreted within a @code{Lyrics} context
1913 @cindex context!Lyrics
1916 Here is a full example:
1923 \notes \transpose c'' {
1925 e f g2 | e4 f g2 \bar "|.";
1927 \context Lyrics \lyrics {
1928 Va-4 der Ja- cob Va- der Ja- cob
1929 Slaapt gij nog?2 Slaapt4 gij nog?2
1937 You may want a continuous line after the syllables to show melismata.
1938 To achieve this effect, add a `@code{__}' lyric as a separate word
1939 after the lyric to be extended. This will create an extender, a line
1940 that extends over the entire duration of the lyric. This line will
1941 run all the way to the start of the next lyric, so you may want to
1942 shorten it by using a blank lyric (using `@code{_}').
1949 \notes \relative c'' {
1950 a4 () b () c () d | c () d () b () a | c () d () b () a
1952 \context Lyrics \lyrics {
1953 foo1 __ | bar2. __ _4 | baz1 __
1962 If you want to have hyphens centered between syllables (rather than
1963 attached to the end of the first syllable) you can use the special
1964 `@code{-}@code{-}' lyric as a separate word between syllables. This
1965 will result in a hyphen which length varies depending on the space
1966 between syllables, and which will be centered between the syllables.
1974 \notes \transpose c'' {
1976 e f g2 | e4 f g2 \bar "|.";
1978 \context Lyrics \lyrics {
1979 Va4 -- der Ja -- cob | Va -- der Ja -- cob |
1980 Slaapt gij nog?2 | Slaapt4 gij nog?2
1990 @node Notation Contexts, , , Reference Manual
1991 @section Notation Contexts
1993 @cindex notation contexts
1995 Notation contexts are objects that only exist during a run of
1996 LilyPond. During the interpretation phase of LilyPond, the Music
1997 expression contained in a @code{\score} block is interpreted in time
1998 order. This is the order in which humans read, play, and write
2001 A context is an object that holds the reading state of the
2002 expression; it contains information like
2005 @item What notes are playing at this point?
2006 @item What symbols will be printed at this point?
2007 @item In what style will they printed?
2008 @item What is the current key signature, time signature, point within
2012 Contexts are grouped hierarchically: A @code{Voice} context is
2013 contained in a @code{Staff} context (because a staff can contain
2014 multiple voices at any point), a @code{Staff} context is contained in
2015 a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
2016 these can all contain multiple staffs).
2018 Contexts associated with sheet music output are called @emph{notation
2019 contexts}, those for sound output are called playing contexts.
2021 Contexts are created either manually or automatically. Initially,
2022 the top level music expression is interpreted by the top level
2023 context (the @code{Score} context). When a atomic music expression
2024 (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
2025 set of contexts is created that can process these atomic expressions,
2031 \score @{ \notes < c4 > @}
2036 The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
2037 context. When the note `@code{c4}' itself is interpreted, a set of
2038 contexts is needed that will accept notes. The default for this is a
2039 @code{Voice} context, contained in a @code{Staff} context. Creation of
2040 these contexts results in the staff being printed.
2045 You can also create contexts manually, and you probably have to do so
2046 if you want to typeset complicated multiple part material. If a
2047 `@code{\context} @var{name} @var{musicexpr}' expression is encountered
2048 during the interpretation phase, the @var{musicexpr} argument will be
2049 interpreted with a context of type @var{name}. If you specify a name,
2050 the specific context with that name is searched.
2052 If a context of the specified type and name can not be found, a new
2053 one is created. For example,
2059 \notes \relative c'' {
2060 c4 <d4 \context Staff = "another" e4> f
2067 In this example, the @code{c} and @code{d} are printed on the
2068 default staff. For the @code{e}, a context Staff called
2069 `@code{another}' is specified; since that does not exist, a new
2070 context is created. Within @code{another}, a (default) Voice context
2071 is created for the @code{e4}. When all music referring to a
2072 context is finished, the context is ended as well. So after the
2073 third quarter, @code{another} is removed.
2075 Almost all music expressions inherit their interpretation context
2076 from their parent. In other words, suppose that the syntax for a
2081 \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
2084 When the interpretation of this music expression starts, the context
2085 for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
2088 Lastly, you may wonder, why this:
2094 \notes \relative c'' @{
2102 doesn't result in this:
2107 \notes \relative c'' {
2114 For the @code{c4}, a default @code{Staff} (with a contained
2115 @code{Voice}) context is created. After the @code{c4} ends, no
2116 music refers to this default staff, so it would be ended, with the
2117 result shown. To prevent this inconvenient behavior, the context to
2118 which the sequential music refers is adjusted during the
2119 interpretation. So after the @code{c4} ends, the context of the
2120 sequential music is also the default @code{Voice} context.
2121 The @code{d4} gets interpreted in the same context
2126 These are the contexts supplied with the package. They are defined
2127 in the initialization file @file{ly/engraver.ly}.
2134 Properties that are set in one context are inherited by all of the
2135 contained contexts. This means that a property valid for the
2136 @code{Voice} context can be set in the @code{Score} context (for
2137 example) and thus take effect in all @code{Voice} contexts.
2139 Properties can be preset within the @code{\translator} block
2140 corresponding to the appropriate context. In this case, the syntax
2145 @var{propname} @code{=} @var{value}
2148 This assignment happens before interpretation starts, so a
2149 @code{\property} expression will override any predefined settings.
2151 The @code{\property} expression will create any property you specify.
2152 There is no guarantee that a property will be used. So if you spell
2153 a property name wrong, there will be no error message.
2155 The property settings are used during the interpretation phase. They
2156 are read by the LilyPond modules where interpretation contexts are
2157 built of. These modules are called @emph{translators}. Translators for
2158 notation are called @emph{engravers}, and translators for sound are
2159 called @emph{performers}.
2161 The precise result of a property is determined by the implementation
2162 of the translator that reads them. Therefore, the result of a
2163 property can vary, since it is implementation and configuration
2166 In order to fully find out what properties are used, you must
2167 currently search the source code for calls to @code{get_property}.
2168 The rest of the section is devoted to an (incomplete) overview of
2169 available properties.
2171 @mbinclude properties.itely
2173 @node Notation output definitions, , , Reference Manual
2174 @section Notation output definitions
2178 @cindex notation output
2180 @cindex output definition
2182 @node paper, , , Reference Manual
2184 The most important output definition is the @code{\paper} block, for
2185 music notation. The syntax is
2189 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
2192 where each of the items is one of
2195 @item An assignment. The assignment must be terminated by a
2198 @item A context definition. See section @ref{contextdefs} for
2199 more information on context definitions.
2204 A margin shape declaration. The syntax is
2208 \shape @var{indent1}@code{,} @var{width1}@code{,}
2209 @var{indent2}@code{,} @var{width2} @dots{} @code{;}
2214 Each pair of @var{indent} and @var{width} values is a dimension
2215 specifying how far to indent and how wide to make the line.
2216 The indentation and width of successive lines are specified by
2217 the successive pairs of dimensions. The last pair of
2218 dimensions will define the characeristics of all lines beyond
2219 those explicitly specified.
2221 @item \stylesheet declaration. Its syntax is
2224 \stylesheet @var{scm}
2228 See font.scm for details of @var{scm}
2233 @cindex changing font size and paper size
2235 The Feta font provides musical symbols at six different sizes. These
2236 fonts are 11 point, 13 point, 16 point, 20 point,
2237 23 point, and 26 point. The point size of a font is the
2238 height of the five lines in a staff when displayed in the font.
2240 Definitions for these sizes are the files @file{paperSZ.ly}, where
2241 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
2242 any of these files, the identifiers @code{paper_eleven},
2243 @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
2244 @code{paper_twentythree}, and @code{paper_twentysix} are defined
2245 respectively. The default @code{\paper} block is also set.
2247 To change the paper size, you must first set the
2248 @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
2249 @code{a4}, @code{letter}, or @code{legal}. After this specification,
2250 you must set the font as described above. If you want the default
2251 font, then use the 20 point font. The new paper size will not
2252 take effect if the font is not loaded and selected afterwards. Paper
2253 size selection works by loading a file named after the paper size you
2258 @cindex paper variables
2260 @node Paper variables, , , Reference Manual
2262 There is a large number of paper variables that are used to control
2263 details of the layout. These variables control the defaults for the
2264 entire score. Usually, they do not have to be changed; they are by
2265 default set to values that depend on the font size in use. The
2266 values are used by the graphic objects while formatting the score;
2267 they are therefore implementation dependent. Most variables are
2268 accompanied by documentation in the initalization file
2269 @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
2272 Nevertheless, here are some variables you may want to use or change:
2275 @item @code{indent}@indexcode{indent}
2276 The indentation of the first line of music.
2278 @item @code{staffspace}@indexcode{staffspace}
2279 The distance between two staff lines, calculated from the center
2280 of the lines. You should use either this or @code{rulethickness}
2281 as a unit for distances you modify.
2283 @item @code{linewidth}@indexcode{linewidth}
2284 Sets the width of the lines. If set to -1.0, a single
2285 unjustified line is produced.
2287 @item @code{textheight}@indexcode{textheight}
2288 Sets the total height of the music on each page. Only used by
2291 @item @code{interscoreline}@indexcode{interscoreline}
2292 Sets the spacing between the score lines. Defaults to 16 pt.
2294 @item @code{interscorelinefill}@indexcode{interscorelinefill}
2295 If set to a positive number, the distance between the score
2296 lines will stretch in order to fill the full page. In that
2297 case @code{interscoreline} specifies the minimum spacing.
2300 @item @code{stafflinethickness}@indexcode{stafflinethickness}
2301 Determines the thickness of staff and bar lines.
2305 @node contextdefs, , , Reference Manual
2307 @cindex context definition
2309 A notation contexts is defined by the following information
2314 @item The LilyPond modules that do the actual conversion of music to
2315 notation. Each module is a so-called
2320 @item How these modules should cooperate, i.e. which ``cooperation
2321 module'' should be used. This cooperation module is a special
2324 @item What other contexts the context can contain,
2326 @item What properties are defined.
2329 A context definition has this syntax:
2333 \translator @code{@{}
2334 @var{translatorinit} @var{translatormodifierlist}
2338 @var{translatorinit} can be an identifier or of the form
2342 \type @var{typename} @code{;}
2345 @var{typename} is one of
2348 @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
2349 The standard cooperation engraver.
2351 @item @code{Score_engraver}@indexcode{Score_engraver}
2352 This is cooperation module that should be in the top level context.
2354 @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
2355 This is a special cooperation module (resembling
2356 @code{Score_engraver}) that is used to created an embedded
2360 @var{translatormodifierlist} is a list of items where each item is
2364 @item @code{\consists} @var{engravername} @code{;}
2365 Add @var{engravername} to the list of modules in this context.
2366 The order of engravers added with @code{\consists} is
2369 @item @code{\consistsend} @var{engravername} @code{;}
2370 Analogous to @code{\consists}, but makes sure that
2371 @var{engravername} is always added to the end of the list of
2374 Some engraver types need to be at the end of the list; this
2375 insures they are put there, and stay there, if a user adds or
2376 removes engravers. This command is usually not needed for
2379 @item @code{\accepts} @var{contextname} @code{;}
2380 Add @var{contextname} to the list of context this context can
2381 contain. The first listed context the context to create by
2384 @item @code{\remove} @var{engravername} @code{;}
2385 Remove a previously added (with @code{\consists}) engraver.
2387 @item @code{\name} @var{contextname} @code{;}
2388 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
2389 the name is not specified, the translator won't do anything.
2391 @item @var{propname} @code{=} @var{value} @code{;}
2392 A property assignment. It is allowed to use reals for
2396 In the @code{\paper} block, it is also possible to define translator
2397 identifiers. Like other block identifiers, the identifier can only
2398 be used as the very first item of a translator. In order to define
2399 such an identifier outside of @code{\score}, you must do
2405 foo = \translator @{ @dots{} @}
2412 \translator @{ \foo @dots{} @}
2420 @cindex paper types, engravers, and pre-defined translators
2422 Some pre-defined identifiers can simplify modification of
2423 translators. The pre-defined identifiers are:
2426 @item @code{StaffContext}@indexcode{StaffContext}
2427 Default Staff context.
2429 @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
2430 Default RhythmicStaff context.
2432 @item @code{VoiceContext}@indexcode{VoiceContext}
2433 Default Voice context.
2435 @item @code{ScoreContext}@indexcode{ScoreContext}
2436 Default Score context.
2438 @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
2439 Score context with numbering at the Score level.
2441 @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
2442 Staff context with numbering at the Staff level.
2444 @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
2445 Staff context that does not print if it only contains rests.
2446 Useful for orchestral scores.@footnote{Harakiri, also called
2447 Seppuku, is the ritual suicide of the Samourai.}
2449 @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
2451 @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
2454 Using these pre-defined values, you can remove or add items to the
2463 \remove Some_engraver;
2464 \consists Different_engraver;
2472 @node Sound output, , , Reference Manual
2473 @section Sound output
2477 The MIDI block is analogous to the paper block, but it is simpler.
2478 The @code{\midi} block can contain:
2482 @item a @code{\tempo} definition
2483 @item context definitions
2486 Assignments in the @code{\midi} block are not allowed.
2490 @cindex context definition
2492 Context definitions follow precisely the same syntax as within the
2493 \paper block. Translation modules for sound are called performers.
2494 The contexts for MIDI output are defined in @file{ly/performer.ly}.
2498 @cindex MIDI instrument names
2500 @node midilist, , , Reference Manual
2502 The MIDI instrument name is set by the
2503 @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
2504 if that property is not set, the
2505 @code{Staff.instrument}@indexcode{Staff.instrument} property. The
2506 instrument name should be chosen from the following list. If the
2507 selected string does not exactly match, then LilyPond uses the default
2513 "acoustic grand" "contrabass" "lead 7 (fifths)"
2514 "bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
2515 "electric grand" "pizzicato strings" "pad 1 (new age)"
2516 "honky-tonk" "orchestral strings" "pad 2 (warm)"
2517 "electric piano 1" "timpani" "pad 3 (polysynth)"
2518 "electric piano 2" "string ensemble 1" "pad 4 (choir)"
2519 "harpsichord" "string ensemble 2" "pad 5 (bowed)"
2520 "clav" "synthstrings 1" "pad 6 (metallic)"
2521 "celesta" "synthstrings 2" "pad 7 (halo)"
2522 "glockenspiel" "choir aahs" "pad 8 (sweep)"
2523 "music box" "voice oohs" "fx 1 (rain)"
2524 "vibraphone" "synth voice" "fx 2 (soundtrack)"
2525 "marimba" "orchestra hit" "fx 3 (crystal)"
2526 "xylophone" "trumpet" "fx 4 (atmosphere)"
2527 "tubular bells" "trombone" "fx 5 (brightness)"
2528 "dulcimer" "tuba" "fx 6 (goblins)"
2529 "drawbar organ" "muted trumpet" "fx 7 (echoes)"
2530 "percussive organ" "french horn" "fx 8 (sci-fi)"
2531 "rock organ" "brass section" "sitar"
2532 "church organ" "synthbrass 1" "banjo"
2533 "reed organ" "synthbrass 2" "shamisen"
2534 "accordion" "soprano sax" "koto"
2535 "harmonica" "alto sax" "kalimba"
2536 "concertina" "tenor sax" "bagpipe"
2537 "acoustic guitar (nylon)" "baritone sax" "fiddle"
2538 "acoustic guitar (steel)" "oboe" "shanai"
2539 "electric guitar (jazz)" "english horn" "tinkle bell"
2540 "electric guitar (clean)" "bassoon" "agogo"
2541 "electric guitar (muted)" "clarinet" "steel drums"
2542 "overdriven guitar" "piccolo" "woodblock"
2543 "distorted guitar" "flute" "taiko drum"
2544 "guitar harmonics" "recorder" "melodic tom"
2545 "acoustic bass" "pan flute" "synth drum"
2546 "electric bass (finger)" "blown bottle" "reverse cymbal"
2547 "electric bass (pick)" "skakuhachi" "guitar fret noise"
2548 "fretless bass" "whistle" "breath noise"
2549 "slap bass 1" "ocarina" "seashore"
2550 "slap bass 2" "lead 1 (square)" "bird tweet"
2551 "synth bass 1" "lead 2 (sawtooth)" "telephone ring"
2552 "synth bass 2" "lead 3 (calliope)" "helicopter"
2553 "violin" "lead 4 (chiff)" "applause"
2554 "viola" "lead 5 (charang)" "gunshot"
2555 "cello" "lead 6 (voice)"
2562 @node Pre-defined Identifiers, , , Reference Manual
2564 @section Pre-defined Identifiers
2566 @cindex pre-defined identifiers
2569 Various identifiers are defined in the initialization files to
2570 provide shorthands for some settings. Most of them are in
2571 @file{ly/declarations.ly}.
2574 @item @code{\break}@keyindex{break}
2575 Force a line break in music by using a large argument for the
2576 keyword @code{\penalty}.
2578 @item @code{\nobreak}@keyindex{nobreak}
2579 Prevent a line break in music by using a large negative argument
2580 for the keyword @code{\penalty}.
2582 @item @code{\normalkey}@keyindex{normalkey}
2583 Select normal key signatures where each octave has the same key
2584 signature. This sets the @code{Staff.keyoctaviation} property.
2586 @item @code{\shiftoff}@keyindex{shiftOff}
2587 Disable horizontal shifting of note heads that collide.
2589 @item @code{\shiftOn}@keyindex{shiftOn}
2590 Enable note heads that collide with other note heads to be
2591 shifted horiztonally.
2593 @item @code{\slurBoth}@keyindex{slurBoth}
2594 Allow slurs to be above or below notes.
2596 @item @code{\slurDown}@keyindex{slurDown}
2597 Force slurs to be below notes.
2599 @item @code{\slurUp}@keyindex{slurUp}
2600 Force slurs to be above notes.
2602 @item @code{\specialkey}@keyindex{specialkey}
2603 Allow key signatures do differ in different octaves. This sets
2604 the @code{Staff.keyoctaviation} property.
2606 @item @code{\stemBoth}@keyindex{stemBoth}
2607 Allow stems, beams, and slurs to point either upwards or
2608 downwards, decided automatically by LilyPond.
2610 @item @code{\stemdown}@keyindex{stemdown}
2611 Force stems, beams, and slurs to point down.
2613 @item @code{\stemUp}@keyindex{stemUp}
2614 Force stems, beams and slurs to point up.
2618 @node Grobs, , , Reference Manual