4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
17 @macro internalsref{NAME}
18 @uref{../lilypond-internals/\NAME\.html,\NAME\}
21 @macro seeinternals{NAME}
22 See @internalsref{\NAME\}
28 @macro seeinternals{NAME}
30 @macro internalsref{NAME}
37 @c .{Reference Manual}
39 @node Reference Manual
40 @chapter Reference Manual
43 <!--- @@WEB-TITLE@@=Reference Manual --->
46 This document describes GNU LilyPond and its input format. The last
47 revision of this document was made for LilyPond 1.4.1. It supposes a
48 passing familiarity with how LilyPond input works. New users are
49 encouraged to study the tutorial first.
51 The reference manual is ordered according to different tasks.
52 More details on the property setting mechanisms and context handling is
53 provided in @ref{Tuning output} and @ref{Interpretation context}. The
54 syntactical details are described at the end of the manual.
76 * Skipping corrected music::
77 * Interpretation context::
87 The purpose of LilyPond is explained informally by the term `music
88 typesetter'. This is not a fully correct name: not only does the
89 program print musical symbols, it also makes aesthetic decisions.
90 Symbols and their placements are @emph{generated} from a high-level
91 musical description. In other words, LilyPond would be best described
92 by `music compiler' or `music to notation compiler'.
94 LilyPond is linked to GUILE, GNU's Scheme library for extension
95 programming. The Scheme library provides the glue that holds together
96 the low-level routines and separate modules which are written in C++.
98 When lilypond is run to typeset sheet music, the following happens:
100 @item GUILE Initialization: various scheme files are read
101 @item parsing: first standard @code{ly} initialization files are read, and
102 then the user @file{ly} file is read.
103 @item interpretation: the music in the file is processed ``in playing
104 order'', i.e. the order that you use to read sheet music, or the
105 order in which notes are played. The result of this step is a typesetting
109 The typesetting specification is solved: positions and formatting is
112 @item the visible results ("virtual ink") are written to the output file.
115 During these stages different types of data play the the main role:
116 during parsing, @strong{Music} objects are created. During the
117 interpretation, @strong{contexts} are constructed, and with these contexts
118 a network of @strong{graphical objects} (``grobs'') is created. These
119 grobs contain unknown variables, and the network forms a set of
120 equations. After solving the equations and filling in these variables,
121 the printed output (in the form of @strong{molecules}) is written to an
124 These threemanship of tasks (parsing, translating, typesetting) and
125 data-structures (music, context, graphical objects) permeates the entire
126 design of the program.
128 @c FIXME: Note entry vs Music entry at top level menu is confusing.
134 The most basic forms of music are notes. We discuss how you enter them
135 here. Notes on their own don't form valid input, but for the sake of
136 brevity we omit obligatory lint such as @code{\score} blocks and
137 @code{\paper} declarations.
148 * Defining pitch names::
149 * Easy Notation note heads ::
156 A note specification has the form
159 @var{pitch}[!][?][@var{duration}]
162 The alteration refers to what note is heard, not to whether an
163 accidental is printed. This is done depending on the key and context.
164 A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!} after the pitch. A
168 cautionary accidental,
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 i.e., an accidental within parentheses can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[fragment,verbatim,center]
175 cis' d' e' cis' c'? d' e' c'!
178 The grob for a note head is called @internalsref{NoteHead}.
186 @cindex Note specification
188 @cindex entering notes
190 The verbose syntax for pitch specification is
192 @cindex @code{\pitch}
194 \pitch @var{scmpitch}
197 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
199 In Note and Chord mode, pitches may be designated by names. The default
200 names are the Dutch note names. The notes are specified by the letters
201 @code{a} through @code{g} (where the octave is formed by notes ranging
202 from @code{c} to @code{b}). The pitch @code{c} is an octave below
203 middle C and the letters span the octave above that C.
205 @cindex note names, Dutch
207 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
208 name and a flat is formed by adding @code{-es}. Double sharps and double
209 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
210 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
211 both forms are accepted.
213 LilyPond has predefined sets of note names for various other languages.
214 To use them, simply include the language specific init file. For
215 example: @code{\include "english.ly"}. The available language files and
216 the names they define are:
219 Note Names sharp flat
220 nederlands.ly c d e f g a bes b -is -es
221 english.ly c d e f g a bf b -s/-sharp -f/-flat
222 deutsch.ly c d e f g a b h -is -es
223 norsk.ly c d e f g a b h -iss/-is -ess/-es
224 svenska.ly c d e f g a b h -iss -ess
225 italiano.ly do re mi fa sol la sib si -d -b
226 catalan.ly do re mi fa sol la sib si -d/-s -b
234 The optional octave specification takes the form of a series of
235 single quote (`@code{'}') characters or a series of comma
236 (`@code{,}') characters. Each @code{'} raises the pitch by one
237 octave; each @code{,} lowers the pitch by an octave.
239 @lilypond[fragment,verbatim,center]
240 c' c'' es' g' as' gisis' ais'
248 A rest is entered like a note, with note name `@code{r}':
250 @lilypond[singleline,verbatim]
254 The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
255 specified using @code{R}, see @ref{Multi measure rests}.
263 @cindex Invisible rest
266 An invisible rest, or skip, can be entered like a note with note name
269 @lilypond[singleline,verbatim]
273 Actually, this is a shorthand for the @code{\skip} command, and it is
274 only available in Note mode and Chord mode.
276 @c FIXME: in lyrics mode, we have " " and _
278 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
279 @lilypond[singleline,verbatim]
281 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
282 \notes\relative c'' { a2 a4 a a2 a4 a }
286 The unabbreviated `@code{\skip} @var{duration}' also works outside of
289 @lilypond[singleline,verbatim]
292 { \time 4/8 \skip 2 \time 4/4 }
293 \notes\relative c'' { a2 a1 }
298 Note that the skip does not produce any output, not even transparent output.
303 @subsection Durations
307 @cindex @code{\duration}
309 The syntax for a verbose duration specification is
311 \duration @var{scmduration}
313 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
314 @ref{Duration} for more information.
317 In Note, Chord, and Lyrics mode, durations may be designated by numbers
318 and dots: durations are entered as their reciprocal values. For notes
319 longer than a whole you must use identifiers.
323 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
325 r1 r2 r4 r8 r16 r32 r64 r64
331 \notes \relative c'' {
333 a1 a2 a4 a8 a16 a32 a64 a64
335 r1 r2 r4 r8 r16 r32 r64 r64
340 \remove "Clef_engraver"
341 \remove "Staff_symbol_engraver"
342 \remove "Time_signature_engraver"
343 \consists "Pitch_squash_engraver"
349 To get a longa note head, you have to use mensural note heads. This
350 is accomplished by setting the @code{style} property of the
351 NoteHead grob to @code{mensural}. There is also a note head style
352 @code{baroque} which gives mensural note heads for @code{\longa} and
353 @code{\breve} but standard note heads for shorter notes.
355 @lilypond[fragment,singleline,verbatim]
356 \property Voice.NoteHead \set #'style = #'mensural
360 If the duration is omitted then it is set to the previous duration
361 entered. At the start of parsing a quarter note is assumed. The
362 duration can be followed by dots (`@code{.}') to obtain dotted note
366 @lilypond[fragment,verbatim,center]
372 You can alter the length of duration by a fraction @var{N/M} by
373 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
374 will not affect the appearance of the notes or rests produced.
386 A tie connects two adjacent note heads of the same pitch. When used
387 with chords, it connects all the note heads whose pitches match.
388 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
389 together chords which have no common pitches then no ties will be
392 @lilypond[fragment,verbatim,center]
393 e' ~ e' <c' e' g'> ~ <c' e' g'>
396 If you dislike the amount of ties created for a chord, you set
397 @code{Voice.sparseTies} to true, resulting in a smaller number of
399 @lilypond[fragment,verbatim,center]
400 \property Voice.sparseTies = ##t
401 <c' e' g'> ~ <c' e' g'>
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot: the following example are two ways of notating
406 exactly the same concept.
408 @lilypond[fragment, singleline]
409 \time 3/4 c'2. c'2 ~ c'4
412 The name of the tie grob is @internalsref{Tie}, and it is created in the
413 @internalsref{Voice} context.
417 At present, the tie is implemented as a separate thing, temporally
418 located in between the notes. There is also no way to convert
419 between tied notes, dotted notes and plain notes.
421 Tieing only a subset of the note heads of a chord is not supported in a
422 simple way. It can be achieved by moving the tie-engraver into the Thread
423 context and turning on and off ties per Thread.
431 @cindex @code{\times}
433 Tuplets are made out of a music expression by multiplying all duration
436 @cindex @code{\times}
438 \times @var{fraction} @var{musicexpr}
441 The duration of @var{musicexpr} will be multiplied by the fraction.
442 In print, the fraction's denominator will be printed over the notes,
443 optionally with a bracket. The most common tuplet is the triplet in
444 which 3 notes have the length of 2, so the notes are 2/3 of
445 their written length:
447 @lilypond[fragment,verbatim,center]
448 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
451 The property @code{tupletSpannerDuration} specifies how long each bracket
452 should last. With this, you can make lots of tuplets while typing
453 @code{\times} only once, thus saving typing work.
455 @lilypond[fragment, relative, singleline, verbatim]
456 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
457 \times 2/3 { c'8 c c c c c }
460 The format of the number is determined by the property
461 @code{tupletNumberFormatFunction}. The default prints only the
462 denominator, but if you set it to the Scheme function
463 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
466 The typesetting of brackets and numbers is controlled by the properties
467 @code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
469 @lilypond[fragment, relative, singleline, verbatim]
470 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
471 \times 2/3{c'8 d e} \times 2/3{d4 e8}
472 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
473 \times 2/3{c d e} \times 2/3{d4 e8}
474 \property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
475 \times 2/3{c d e} \times 2/3{d4 e8}
476 \property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
477 \times 2/3{c d e} \times 2/3{d4 e8}
478 \property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
479 \times 2/3{c d e} \times 2/3{d4 e8}
482 @cindex @code{tupletNumberFormatFunction}
483 @cindex tuplet formatting
485 Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
486 often in the @internalsref{Voice} context.
488 @c . {Defining pitch names}
489 @node Defining pitch names
490 @subsection Defining pitch names
492 @cindex defining pitch names
493 @cindex pitch names, defining
495 Note names and chord modifiers can be customized for nationalities. The
496 syntax is as follows.
498 @cindex @code{\pitchnames}
499 @cindex @code{\chordmodifiers}
501 \pitchnames @var{scheme-alist}
502 \chordmodifiers @var{scheme-alist}
505 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
506 specific examples on how to do this.
509 @node Easy Notation note heads
510 @subsection Easy Notation note heads
512 @cindex easy notation
515 A entirely different type of note head is the "easyplay" note head: a
516 note head that includes a note name. It is used in some publications by
517 Hal-Leonard Inc. music publishers.
519 @lilypond[singleline,verbatim]
520 \include "paper23.ly"
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 Note that @internalsref{EasyNotation} overrides a @internalsref{Score} context. You
528 probably will want to print it with magnification to make it more
529 readable, see @ref{Output scaling}.
535 If you view the result with Xdvi, then staff lines will show through the
536 letters. Printing the postscript file obtained either by using dvips or
537 the @code{-f ps} option of lilypond produces the correct result.
542 @section Staff notation
544 @cindex Staff notation
556 @subsection Key signature
561 Setting or changing the key signature is done with the @code{\key}
564 @code{\key} @var{pitch} @var{type}
567 @cindex @code{\minor}
568 @cindex @code{\major}
569 @cindex @code{\minor}
570 @cindex @code{\ionian}
571 @cindex @code{\locrian}
572 @cindex @code{\aeolian}
573 @cindex @code{\mixolydian}
574 @cindex @code{\lydian}
575 @cindex @code{\phrygian}
576 @cindex @code{\dorian}
578 Here, @var{type} should be @code{\major} or @code{\minor} to get
579 @var{pitch}-major or @var{pitch}-minor, respectively.
580 The standard mode names @code{\ionian},
581 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
582 @code{\phrygian}, and @code{\dorian} are also defined.
584 This command sets the context property @code{Staff.keySignature}.
585 Non-standard key signatures can be specified by setting this property
588 The printed signature is a @internalsref{KeySignature} grob, typically
589 created in @internalsref{Staff} context.
591 @cindex @code{keySignature}
598 The clef can be set or changed with the @code{\clef} command.
606 \property Staff.clefGlyph = @var{glyph associated with clefname}
607 \property Staff.clefPosition = @var{clef Y-position for clefname}
608 \property Staff.centralCPosition = @var{position for central C}
609 \property Staff.clefOctavation = @var{extra transposition of clefname}
612 Any change in these properties creates a clef (A @internalsref{Clef} grob).
614 Supported clef-names include
616 @c Moved standard clefs to the top /MB
618 @item treble, violin, G, G2
627 G clef on 1st line, so-called French violin clef
642 By adding @code{_8} or @code{^8} to the clef name, the clef is
643 transposed one octave down or up, respectively.
645 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
654 @item clefs-vaticana_do
655 Editio Vaticana style do clef
656 @item clefs-vaticana_fa
657 Editio Vaticana style fa clef
658 @item clefs-medicaea_do
659 Editio Medicaea style do clef
660 @item clefs-medicaea_fa
661 Editio Medicaea style fa clef
662 @item clefs-mensural1_c
663 modern style mensural C clef
664 @item clefs-mensural2_c
665 historic style small mensural C clef
666 @item clefs-mensural3_c
667 historic style big mensural C clef
668 @item clefs-mensural1_f
669 historic style traditional mensural F clef
670 @item clefs-mensural2_f
671 historic style new mensural F clef
672 @item clefs-mensural_g
673 historic style mensural G clef
674 @item clefs-hufnagel_do
675 historic style hufnagel do clef
676 @item clefs-hufnagel_fa
677 historic style hufnagel fa clef
678 @item clefs-hufnagel_do_fa
679 historic style hufnagel combined do/fa clef
680 @item clefs-percussion
681 modern style percussion clef
684 @emph{Modern style} means ``as is typeset in current editions.''
685 @emph{Historic style} means ``as was typeset or written in contemporary
686 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
689 @cindex Vaticana, Editio
690 @cindex Medicaea, Editio
691 @cindex hufnagel clefs
694 @c . {Time signature}
696 @subsection Time signature
697 @cindex Time signature
701 The time signature is set or changed by the @code{\time}
704 \time @var{n}@code{/}@var{d}
706 Internally, this is a shortcut for doing
708 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
709 \property Score.beatLength = #(make-moment 1 @var{d})
710 \property Score.measureLength = #(make-moment @var{n} @var{d})
713 These properties @code{timeSignatureFraction} determine where bar lines
714 should be inserted, and how automatic beams should be
717 Changing the value of @code{timeSignatureFraction} also causes a
718 fraction to be printed. This grob is @internalsref{TimeSignature}.
720 The actual symbol that's printed can be customized with the style
722 @lilypond[fragment, verbatim, singleline]
724 \property Staff.TimeSignature \override #'style = #'C
726 \property Staff.TimeSignature \override #'style = #'()
728 \property Staff.TimeSignature \override #'style = #'C
732 There are many more options for the layout of this grob. They are
733 selected through the @code{style} grob property.
735 @c FIXME: this isn't documented except in example?
737 @file{input/test/time.ly} for examples.
744 @cindex partial measure
745 @cindex measure, partial
746 @cindex shorten measures
747 @cindex @code{\partial}
749 Partial measures, for example in upbeats, are entered using the
750 @code{\partial} command:
752 \partial @var{duration}
755 Internally, this is a shortcut for
758 \property Score.measurePosition = -@var{length of duration}
762 The property @code{measurePosition} contains a rational number
763 indicating how much of the measure has passed at this point.
766 @node Unmetered music
767 @subsection Unmetered music
769 Bar lines and bar numbers are calculated automatically. For unmetered
770 music (e.g. cadenzas), this is not desirable. The property
771 @code{Score.timing} can be used to switch off this automatic timing
773 @lilypond[fragment,relative,singleline,verbatim]
775 \property Score.timing = ##f
777 \property Score.timing = ##t
781 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
788 @subsection Bar lines
792 @cindex measure lines
799 This is a shortcut for doing
801 \property Score.whichBar = @var{bartype}
803 The following bar types are available
805 @lilypond[fragment, relative, singleline, verbatim]
818 You are encouraged to use @code{\repeat} for repetitions. See
822 @cindex Bar_line_engraver
824 @cindex repeatCommands
825 @cindex defaultBarType
827 Whenever @code{whichBar} is set to a string, a bar line of that type is
828 created. @code{whichBar} is usually set automatically: at the start of
829 a measure it is set to @code{defaultBarType}. The contents of
830 @code{repeatCommands} is used to override default measure bars.
832 @code{whichBar} can also be set directly, using @code{\property} or
833 @code{\bar }. These settings take precedence over the automatic
834 @code{whichBar} settings.
836 @internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
843 Polyphonic parts, i.e. parts with more than one voice on a staff can be
844 typeset with LilyPond. To use this, instantiate a separate Voice
845 context for each part, and assign a stem direction to each part.
846 @lilypond[fragment,verbatim]
848 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
849 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
852 When there are more than two voices on a staff, you must also indicate
853 which voice should moved horizontally in case of a collision. This can
854 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
855 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
856 in @internalsref{NoteColumn}).
858 @lilypond[fragment, verbatim]
859 \context Staff \notes\relative c''<
866 \context Voice=three {
867 \shiftOnn \stemUp ais
869 \context Voice=four {
870 \shiftOnnn \stemUp fis
875 The most convenient way is to use the identifiers @code{\voiceOne}
876 through @code{\voiceFour}, which also set slur and tie directions in the
879 @lilypond[singleline, verbatim]
881 \context Staff < \context Voice = VA { \voiceOne cis2 b }
882 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
883 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
886 Normally, note heads with a different number of dots are not merged, but
887 if you set the grob property @code{merge-differently-dotted}, they are:
889 @lilypond[verbatim,fragment,singleline]
891 \context Voice = VA { \voiceOne
893 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
896 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
900 LilyPond also vertically shifts rests that are opposite of a stem.
902 @lilypond[singleline,verbatim]
904 \context Voice { \stemUp c''4 }
905 \context Voice =VB { r4 }
909 Note head collisions (horizontal shifting of note heads) are handled by
910 the @internalsref{NoteCollision} grob. @internalsref{RestCollision} handles vertical
917 Resolving collisions is a very intricate subject, and LilyPond only
918 handles a few situations. When it can not cope, you are advised to use
919 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
920 the Rest grob to override typesetting decisions.
925 Beams are used to group short notes into chunks that are aligned with
926 the metrum. LilyPond guesses where beams should be inserted. If you're
927 not satisfied with the automatic beaming, you can specify which patterns
928 to beam automatically. In specific cases, you can also enter the beams
932 @c . {Automatic beams}
933 @subsection Automatic beams
935 @cindex @code{Voice.autoBeamSettings}
936 @cindex @code{(end * * * *)}
937 @cindex @code{(begin * * * *)}
940 In normal time signatures, automatic beams can start on any note but can
941 only end in a few positions within the measure: beams can end on a beat,
942 or at durations specified by the properties in
943 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
944 are defined in @file{scm/auto-beam.scm}.
946 The value of @code{autoBeamSettings} is changed using
947 @code{\override} and unset using @code{\revert}:
949 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
950 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
952 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
953 whether the rule applies to begin or end-points. The quantity
954 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
955 *}' designates notes of any length), @var{N}/@var{M} refers to a time
956 signature (wildcards, `@code{* *}' may be entered to designate all time
959 For example, if you want automatic beams to end on every quarter note,
960 you can use the following:
962 \property Voice.autoBeamSettings \override
963 #'(end * * * *) = #(make-moment 1 4)
965 Since the duration of a quarter note is 1/4 of a whole note, it is
966 entered as @code{(make-moment 1 4)}.
968 The same syntax can be used to specify beam starting points. In this
969 example, automatic beams can only end on a dotted quarter note.
971 \property Voice.autoBeamSettings \override
972 #'(end * * * *) = #(make-moment 3 8)
974 In 4/4 time signature, this means that automatic beams could end only on
975 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
976 3/8 has passed within the measure).
978 You can also restrict rules to specific time signatures. A rule that
979 should only be applied in @var{N}/@var{M} time signature is formed by
980 replacing the second asterisks by @var{N} and @var{M}. For example, a
981 rule for 6/8 time exclusively looks like
983 \property Voice.autoBeamSettings \override
984 #'(begin * * 6 8) = ...
987 If you want a rule to apply to certain types of beams, you can use the
988 first pair of asterisks. Beams are classified according to the shortest
989 note they contain. For a beam ending rule that only applies to beams
990 with 32nd notes (and no shorter notes), you would use @code{(end 1
994 @c Automatic beams can not be put on the last note in a score.
996 If a score ends while an automatic beam has not been ended and is still
997 accepting notes, this last beam will not be typeset at all.
999 @cindex automatic beam generation
1001 @cindex @code{Voice.noAutoBeaming}
1003 Automatic beaming is on by default, but can be switched off by setting
1004 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
1005 a melody that goes with lyrics.
1009 It is not possible to specify beaming parameters for beams with mixed
1010 durations, that differ from the beaming parameters of all separate
1011 durations, i.e., you'll have to specify manual beams to get:
1012 @lilypond[fragment,singleline,relative]
1013 \property Voice.autoBeamSettings
1014 \override #'(end * * * *) = #(make-moment 3 8)
1015 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1018 It is not possible to specify beaming parameters that act differently in
1019 different parts of a measure. This means that it is not possible to use
1020 automatic beaming in irregular meters such as @code{5/8}.
1023 @cindex Automatic beams
1024 @subsection Manual beams
1025 @cindex beams, manual
1029 In some cases it may be necessary to override LilyPond's automatic
1030 beaming algorithm. For example, the auto beamer will not beam over
1031 rests or bar lines, If you want that, specify the begin and end point
1032 manually using a @code{[} before the first beamed note and a @code{]}
1033 after the last note:
1035 @lilypond[fragment,relative,verbatim]
1037 r4 [r8 g' a r8] r8 [g | a] r8
1040 Whenever an manual beam is busy, the automatic beamer will not produce
1043 @cindex @code{stemLeftBeamCount}
1045 Normally, beaming patterns within a beam are determined automatically.
1046 When this mechanism fouls up, the properties
1047 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
1048 be used to control the beam subdivision on a stem. If you set either
1049 property, it's value will be used only once, and then it is erased.
1051 @lilypond[fragment,relative,verbatim]
1054 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1057 @cindex @code{stemRightBeamCount}
1059 The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
1060 context), both for automatic and manual beams) can be tweaked through
1061 grob-properties @code{height} and @code{staff-position}. These specify
1062 vertical location and vertical span. Both are measured in half
1063 staff-spaces, @code{staff-position=0} corresponds to the middle staff
1066 Set @code{height} to zero, to get horizontal beams:
1068 @lilypond[fragment,relative,verbatim]
1069 \property Voice.Beam \set #'direction = #1
1070 \property Voice.Beam \set #'height = #0
1074 Here's how you'd specify a weird looking beam that instead of being
1075 horizontal, falls two staff spaces:
1077 @lilypond[fragment,relative,verbatim]
1078 \property Voice.Beam \set #'staff-position = #4
1079 \property Voice.Beam \set #'height = #-4
1083 @c TODO -> why this ref? Document?
1084 @cindex @code{neutral-direction}
1086 @node Expressive marks
1087 @section Expressive marks
1102 A slur indicates that notes are to be played bound or @emph{legato}.
1103 They are entered using parentheses:
1105 @lilypond[fragment,verbatim,center]
1106 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1110 Slurs avoid crossing stems, and are generally attached to note heads.
1111 However, in some situations with beams, slurs may be attached to stem
1112 ends. If you want to override this layout you can do this through the
1113 grob-property @code{attachment} of @internalsref{Slur} in
1114 @internalsref{Voice} context It's value is a pair of symbols, specifying
1115 the attachment type of the left and right end points.
1117 @lilypond[fragment,relative,verbatim]
1118 \property Voice.Slur \set #'direction = #1
1119 \property Voice.Stem \set #'length = #5.5
1121 \property Voice.Slur \set #'attachment = #'(stem . stem)
1125 If a slur would strike through a stem or beam, the slur will be moved
1126 away upward or downward. If this happens, attaching the slur to the
1127 stems might look better:
1129 @lilypond[fragment,relative,verbatim]
1130 \property Voice.Stem \set #'direction = #1
1131 \property Voice.Slur \set #'direction = #1
1133 \property Voice.Slur \set #'attachment = #'(stem . stem)
1138 Similarly, the curvature of a slur is adjusted to stay clear of note
1139 heads and stems. When that would increase the curvature too much, the
1140 slur is reverted to its default shape. The threshold for this decision
1141 is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely
1142 related to the enclosed area between the slur and the notes. Usually,
1143 the default setting works well, but in some cases you may prefer a
1144 curved slur when LilyPond decides for a vertically moved one. You can
1145 indicate this preference by increasing the @code{beautiful} value:
1147 @lilypond[verbatim,singleline,relative]
1148 \property Voice.Beam \override #'direction = #-1
1149 \property Voice.Slur \override #'direction = #1
1150 c16( a' f' a a f a, )c,
1151 c( a' f' a a f d, )c
1152 \property Voice.Slur \override #'beautiful = #5.0
1153 c( a' f' a a f d, )c
1158 @code{beautiful} is an arbitrary parameter in the slur formatter.
1159 Useful values can only be determined by trial and error.
1161 @cindex Adjusting slurs
1163 @node Phrasing slurs
1164 @subsection Phrasing slurs
1166 @cindex phrasing slurs
1167 @cindex phrasing marks
1169 A phrasing slur (or phrasing mark) connects chords and is used to
1170 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1173 @lilypond[fragment,verbatim,center,relative]
1174 \time 6/4 c' \( ( d ) e f ( e ) \) d
1177 Typographically, the phrasing slur behaves almost exactly like a normal
1178 slur. The grob associated with it is @internalsref{PhrasingSlur}, in
1179 @internalsref{Voice} context.
1182 @subsection Breath marks
1184 Breath marks are entered using @code{\breathe}. The result is a
1185 @internalsref{BreathingSign} grob in @internalsref{Voice} context.
1187 @lilypond[fragment,relative]
1196 Currently, only tick marks are supported, not comma style breath marks.
1203 @cindex beats per minute
1204 @cindex metronome marking
1206 Metronome settings can be entered as follows:
1208 @cindex @code{\tempo}
1210 \tempo @var{duration} = @var{perminute}
1213 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1218 The tempo setting is not printed, but is only used in the MIDI
1219 output. You can trick lily into producing a metronome mark,
1220 though. Details are in @ref{Text markup}.
1225 @subsection Text spanners
1226 @cindex Text spanners
1228 Some textual indications, e.g. rallentando or accelerando, often extend
1229 over many measures. This is indicated by following the text with a
1230 dotted line. You can create such texts using text spanners. The syntax
1233 \spanrequest \start "text"
1234 \spanrequest \stop "text"
1236 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1237 in @internalsref{Voice} context). The string to be printed, as well as the
1238 style is set through grob properties.
1240 An application---or rather, a hack---is to fake octavation indications.
1241 @lilypond[fragment,relative,verbatim]
1242 \relative c' { a''' b c a
1243 \property Voice.TextSpanner \set #'type = #'dotted-line
1244 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1245 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1246 \property Staff.centralCPosition = #-13
1247 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1265 @subsection Articulations
1266 @cindex Articulations
1268 @cindex articulations
1272 A variety of symbols can appear above and below notes to indicate
1273 different characteristics of the performance. These symbols can be
1274 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1275 are defined in @file{script.ly}. Symbols can be forced to appear above
1276 or below the note by writing `@var{note}@code{^\}@var{name}' and
1277 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1278 symbols on notes, with the name of the corresponding symbol appearing
1284 \property Score.LyricSyllable \override #'font-family =#'typewriter
1285 \property Score.LyricSyllable \override #'font-shape = #'upright
1286 \context Staff \notes {
1287 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1288 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1289 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1290 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1291 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1292 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1293 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1294 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1296 \context Lyrics \lyrics {
1297 accent__ marcato__ staccatissimo__ fermata
1298 stopped__ staccato__ tenuto__ upbow
1299 downbow__ lheel__ rheel__ ltoe
1300 rtoe__ turn__ open__ flageolet
1301 reverseturn__ trill__ prall__ mordent
1302 prallprall__ prallmordent__ uprall__ downprall
1303 upmordent__ downmordent__ pralldown__ prallup__
1304 lineprall__ thumb__ segno__ coda
1308 linewidth = 5.875\in
1314 To save typing work, some shorthands are available:
1315 @lilypond[singleline]
1317 \notes \context Voice {
1318 \property Voice.TextScript \set #'font-family = #'typewriter
1319 \property Voice.TextScript \set #'font-shape = #'upright
1325 c''4-^_"c-\\^{ }" s4
1332 Fingering instructions can also be entered in this shorthand.
1333 @lilypond[verbatim, singleline, fragment]
1334 c'4-1 c'4-2 c'4-3 c'4-4
1338 @cindex @code{\script}
1343 You can add scripts by editing @file{scm/script.scm}. This file contains
1344 a table, listing script definitions and aliases. The following syntax
1345 accesses a script definition from the table:
1351 Usually the @code{\script} keyword is not used directly. Various
1352 helpful identifier definitions appear in @file{script.ly}.
1354 Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
1358 All of these note ornaments appear in the printed output but have no
1359 effect on the MIDI rendering of the music.
1361 Unfortunately, there is no support for adding fingering instructions or
1362 ornaments to individual note heads. Some hacks exist, though. See
1363 @file{input/test/script-horizontal.ly}.
1368 @subsection Text scripts
1369 @cindex Text scripts
1371 In addition, it is possible to place arbitrary strings of text or markup
1372 text (see @ref{Text markup}) above or below notes by using a string:
1375 By default, these indications do not influence the note spacing, but
1376 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1377 into account. The identifier @code{\fatText} is defined in the standard
1379 @lilypond[fragment,singleline,verbatim]
1380 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1383 Text scripts are created in form of @internalsref{TextScript} grobs, in
1384 @internalsref{Voice} context.
1386 @ref{Text markup} describes how to change the font or access
1387 special symbols in text scripts.
1391 @subsection Grace notes
1400 @cindex @code{\grace}
1403 @cindex @code{graceAlignPosition}
1405 Grace notes are ornaments that are written out, but do not take up any
1406 logical time in a measure. LilyPond has limited support for grace notes.
1407 The syntax is as follows.
1409 \grace @var{musicexpr}
1412 Unbeamed eighth notes and shorter by default have a slash through the
1415 @lilypond[fragment,verbatim]
1417 \grace c8 c4 \grace { [c16 c16] } c4
1419 \property Voice.Stem \override #'flag-style = #'()
1421 \property Voice.Stem \revert #'flag-style
1426 A grace note expression has duration 0; the next real note is assumed to
1427 be the main note. If you want the note to appear after the main note,
1428 set @code{Voice.graceAlignPosition} to @code{1}.
1432 Nesting @code{\grace} notes is not supported. The following may cause
1433 run-time errors: @example
1434 @code{\grace @{ \grace c32 c16 @} c4}
1436 Since the meaning of such a construct is unclear, we don't consider this
1437 a loss. Similarly, juxtaposing two @code{\grace} sections is
1438 syntactically valid, but makes no sense and may cause runtime errors.
1439 Ending a staff or score with grace notes may also generate a run-time
1440 error, since there will be no main note to attach the grace notes to.
1451 @subsection Glissando
1454 @cindex @code{\glissando}
1456 A glissando line (grob @internalsref{Glissando}) can be requested by
1457 attaching a @code{\glissando} to a notte:
1459 @lilypond[fragment,relative,verbatim]
1465 Printing of an additional text (such as @emph{gliss.}) must be done
1472 @subsection Dynamics
1485 @cindex @code{\ffff}
1495 Absolute dynamic marks are specified using an identifier after a
1496 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1497 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1498 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1499 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1501 @lilypond[verbatim,singleline,fragment,relative]
1502 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1508 @cindex @code{\decr}
1509 @cindex @code{\rced}
1515 A crescendo mark is started with @code{\cr} and terminated with
1516 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1517 started with @code{\decr} and terminated with @code{\rced}. There are
1518 also shorthands for these marks. A crescendo can be started with
1519 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1520 can be terminated with @code{\!}. Note that @code{\!} must go before
1521 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1522 after the last note. Because these marks are bound to notes, if you
1523 want several marks during one note, you have to use spacer notes.
1525 @lilypond[fragment,verbatim,center]
1526 c'' \< \! c'' d'' \decr e'' \rced
1527 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1530 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1531 is an example how to do it:
1536 @lilypond[fragment,relative,verbatim]
1538 \property Voice.crescendoText = "cresc."
1539 \property Voice.crescendoSpanner = #'dashed-line
1544 For everyday use, we recommend the identifiers @code{\cresc},
1545 @code{endcresc}, @code{\dim} and @code{\enddim}.
1549 Dynamics are grobs of @internalsref{DynamicText} and
1550 @internalsref{Hairpin}. They are put together on
1551 @internalsref{DynamicLineSpanner} to align them vertically.
1560 @cindex @code{\repeat}
1562 To specify repeats, use the @code{\repeat} keyword. Since repeats
1563 should work differently when played or printed, there are a few
1564 different variants of repeats.
1568 Repeated music is fully written (played) out. Useful for MIDI
1569 output, and entering repetitive music.
1572 This is the normal notation: Repeats are not written out, but
1573 alternative endings (voltas) are printed, left to right.
1576 Alternative endings are written stacked. This has limited use but may be
1577 used to typeset two lines of lyrics in songs with repeats, see
1578 @file{input/star-spangled-banner.ly}.
1584 Make beat or measure repeats. These look like percent signs.
1590 * Manual repeat commands::
1592 * Tremolo subdivisions::
1597 @subsection Repeat syntax
1599 The syntax for repeats is
1602 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1605 If you have alternative endings, you may add
1606 @cindex @code{\alternative}
1608 \alternative @code{@{} @var{alternative1}
1610 @var{alternative3} @dots{} @code{@}}
1612 where each @var{alternative} is a music expression.
1614 Normal notation repeats are used like this:
1615 @lilypond[fragment,verbatim]
1617 \repeat volta 2 { c'4 d' e' f' }
1618 \repeat volta 2 { f' e' d' c' }
1621 With alternative endings:
1622 @lilypond[fragment,verbatim]
1624 \repeat volta 2 {c'4 d' e' f'}
1625 \alternative { {d'2 d'} {f' f} }
1628 Folded repeats look like this:
1631 @lilypond[fragment,verbatim]
1633 \repeat fold 2 {c'4 d' e' f'}
1634 \alternative { {d'2 d'} {f' f} }
1638 If you don't give enough alternatives for all of the repeats, then
1639 the first alternative is assumed to be repeated often enough to equal
1640 the specified number of repeats.
1642 @lilypond[fragment,verbatim]
1646 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1647 \alternative { { g4 g g } { a | a a a a | b2. } }
1652 @subsection Unfolding repeats for MIDI output.
1654 @cindex expanding repeats
1656 See @file{input/test/unfold-all-repeats.ly}.
1661 Notice that timing information is not remembered at the start of an
1662 alternative, so you have to reset timing information after a repeat,
1663 e.g. using a bar-check (See @ref{Bar check}), setting
1664 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1665 are also not repeated.
1667 It is possible to nest @code{\repeat}s, although this probably is only
1668 meaningful for unfolded repeats.
1670 Folded repeats offer little more over simultaneous music. However, it
1671 is to be expected that more functionality -- especially for the MIDI
1672 backend -- will be implemented at some point in the future.
1674 Volta repeats are printed over all staves in a score. You must turn them
1675 off explicitly, for example by doing
1677 \property Staff.VoltaBracket = \turnOff
1679 in all but the top staff.
1681 @node Manual repeat commands
1682 @subsection Manual repeat commands
1684 @cindex @code{repeatCommands}
1686 The property @code{repeatCommands} can be used to control the layout of
1687 repeats. Its value is a Scheme list of repeat commands, where each repeat
1695 @item (volta . @var{text})
1696 Print a volta bracket saying @var{text}.
1698 Stop a running volta bracket
1701 @lilypond[verbatim, fragment]
1703 \property Score.repeatCommands = #'((volta "93") end-repeat)
1705 \property Score.repeatCommands = #'((volta #f))
1710 Repeats brackets are @internalsref{VoltaBracket} grobs.
1712 @node Tremolo repeats
1713 @subsection Tremolo repeats
1714 @cindex tremolo beams
1716 To place tremolo marks between notes, use @code{\repeat} with tremolo
1718 @lilypond[verbatim,center,singleline]
1720 \context Voice \notes\relative c' {
1721 \repeat "tremolo" 8 { c16 d16 }
1722 \repeat "tremolo" 4 { c16 d16 }
1723 \repeat "tremolo" 2 { c16 d16 }
1724 \repeat "tremolo" 4 c16
1729 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
1730 @internalsref{StemTremolo}.
1735 At present, the spacing between tremolo beams is not regular, since the
1736 spacing engine does not notice that not all notes are printed.
1738 @node Tremolo subdivisions
1739 @subsection Tremolo subdivisions
1740 @cindex tremolo marks
1741 @cindex @code{tremoloFlags}
1743 Tremolo marks can be printed on a single note by adding
1744 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1745 A @var{length} value of 8 gives one line across the note stem. If the
1746 length is omitted, then then the last value (stored in
1747 @code{Voice.tremoloFlags}) is used.
1749 @lilypond[verbatim,fragment,center]
1750 c'2:8 c':32 | c': c': |
1756 Tremolos in this style do not carry over into the MIDI output.
1759 @node Measure repeats
1760 @subsection Measure repeats
1762 @cindex percent repeats
1763 @cindex measure repeats
1765 In the @code{percent} style, a note pattern can be repeated. It is
1766 printed once, and then the pattern is replaced with a special sign.
1767 Patterns of a one and two measures are replaced by percent-like signs,
1768 patterns that divide the measure length are replaced by slashes.
1770 @lilypond[verbatim,singleline]
1771 \context Voice { \repeat "percent" 4 { c'4 }
1772 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1776 The signs are represented by these grobs: @internalsref{RepeatSlash} and
1777 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
1781 You can not nest percent repeats, e.g. by filling in the first measure
1782 with slashes, and repeating that measure with percents.
1784 @node Rhythmic music
1785 @section Rhythmic music
1792 @node Rhythmic staves
1793 @subsection Rhythmic staves
1795 Sometimes you might want to show only the rhythm of a melody. This can
1796 be done with the rhythmic staff. All pitches of notes on such a staff
1797 are squashed, and the staff itself looks has a single staff line:
1799 @lilypond[fragment,relative,verbatim]
1800 \context RhythmicStaff {
1802 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1809 @section Piano music
1811 Piano music is an odd type of notation. Piano staves are two normal
1812 staves coupled with a brace. The staves are largely independent, but
1813 sometimes voices can cross between the two staves. The
1814 @internalsref{PianoStaff} is especially built to handle this cross-staffing
1815 behavior. In this section we discuss the @internalsref{PianoStaff} and some
1816 other pianistic peculiarities.
1819 * Automatic staff changes::
1820 * Manual staff switches::
1823 * Voice follower lines::
1827 @c . {Automatic staff changes}
1828 @node Automatic staff changes
1829 @subsection Automatic staff changes
1830 @cindex Automatic staff changes
1832 Voices can switch automatically between the top and the bottom
1833 staff. The syntax for this is
1835 \autochange @var{contexttype} @var{musicexp}
1837 This will switch the interpretation context of @var{musicexp} between a
1838 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1839 @internalsref{Staff} for @var{contexttype}. The autochanger switches on basis
1840 of pitch (central C is the turning point), and it looks ahead skipping
1841 over rests to switch rests in advance.
1843 @lilypond[verbatim,singleline]
1844 \score { \notes \context PianoStaff <
1845 \context Staff = "up" {
1846 \autochange Staff \context Voice = VA < \relative c' {
1847 g4 a b c d r4 a g } > }
1848 \context Staff = "down" {
1854 Note how spacer rests are used to prevent the bottom staff from
1855 terminating too soon.
1858 @node Manual staff switches
1859 @subsection Manual staff switches
1861 @cindex manual staff switches
1862 @cindex staff switch, manual
1864 Voices can be switched between staves manually, using the following command:
1866 \translator Staff = @var{staffname} @var{music}
1868 The string @var{staffname} is the name of the staff. It switches the
1869 current voice from its current staff to the Staff called
1870 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1873 The formal definition of this construct is obtuse, but for the sake of
1874 completeness we give it here.
1875 @cindex @code{\translator}
1877 \translator @var{contexttype} = @var{name}
1879 Formally, this construct is a music expression indicating
1880 that the context which is a direct child of the context of type
1881 @var{contexttype} should be shifted to a context of type
1882 @var{contexttype} and the specified name.
1890 Piano pedal instruction can be expressed using
1891 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1892 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1894 These identifiers are shorthands for spanner commands of the types
1895 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
1897 @lilypond[fragment,verbatim]
1898 c''4 \spanrequest \start "Sustain" c''4
1899 c''4 \spanrequest \stop "Sustain"
1902 The symbols that are printed can be modified by setting
1903 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1904 types. Refer to the generated documentation of @rgrob{PianoPedal} for
1910 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1916 @subsection Arpeggio
1919 @cindex broken arpeggio
1920 @cindex @code{\arpeggio}
1922 You can specify an arpeggio sign on a chord by attaching an
1923 @code{\arpeggio} to a note of the chord.
1926 @lilypond[fragment,relative,verbatim]
1927 \context Voice <c\arpeggio e g c>
1930 When an arpeggio crosses staves in piano music, you attach an arpeggio
1931 to the chords in both staves, and set
1932 @code{PianoStaff.connectArpeggios}.
1934 @lilypond[fragment,relative,verbatim]
1935 \context PianoStaff <
1936 \property PianoStaff.connectArpeggios = ##t
1937 \context Voice = one { <c'\arpeggio e g c> }
1938 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1942 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
1943 are @code{PianoStaff.Arpeggio}. @internalsref{Arpeggio}
1945 To add an arrow head to explicitly specify the direction of the
1946 arpeggio, you should set the arpeggio grob property
1947 @code{arpeggio-type}.
1949 @lilypond[fragment,relative,verbatim]
1951 \property Voice.Arpeggio \override #'arpeggio-direction = #1
1953 \property Voice.Arpeggio \override #'arpeggio-direction = #-1
1959 A square bracket on the left indicates that the player should not
1960 arpeggiate the chord.
1962 @lil ypond[fragment,relative,verbatim]
1963 \context PianoStaff <
1964 \property PianoStaff.connectArpeggios = ##t
1965 \property PianoStaff.Arpeggio \override #'arpeggio-direction = #'bracket
1966 \context Voice = one { <c'\arpeggio e g c> }
1967 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1975 It is not possible to mix connected arpeggios and unconnected arpeggios
1980 @node Voice follower lines
1981 @subsection Voice follower lines
1983 @cindex follow voice
1984 @cindex staff switching
1987 @cindex @code{followVoice}
1989 Whenever a voice switches to another staff a line connecting the notes
1990 can be printed automatically. This is enabled if the property
1991 @code{PianoStaff.followVoice} is set to true:
1993 @lilypond[fragment,relative,verbatim]
1994 \context PianoStaff <
1995 \property PianoStaff.followVoice = ##t
1996 \context Staff \context Voice {
1998 \translator Staff=two
2001 \context Staff=two {\clef bass \skip 1*2 }
2005 The associated grob is @internalsref{VoiceFollower}.
2015 * Automatic syllable durations::
2021 @subsection Lyrics mode
2024 To print lyrics, you must first make a music expression from the lyric
2025 text. That music expression can be printed by selecting an appropriate
2029 @cindex @code{\lyrics}
2031 You can enter lyrics in a special input mode of LilyPond. This mode is
2032 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
2033 The purpose of this mode is that you can enter lyrics as plain text,
2034 punctuation and accents without any hassle.
2036 Syllables are entered like notes, with pitches replaced by text. For
2037 example, @code{Twin- kle twin- kle} enters four syllables. Note that
2038 the hyphen has no special meaning for lyrics, and does not introduce
2041 Spaces can be introduced into a lyric either by using quotes:
2042 @code{"He could"4 not4} or by using an underscore without quotes:
2043 @code{He_could4 not4}. All unquoted underscores are converted to
2046 The precise definition of this mode can be found in @ref{Lyrics mode
2049 @c . {Printing lyrics}
2050 @node Printing lyrics
2051 @subsection Printing lyrics
2054 Lyrics are printed by interpreting them in the @internalsref{Lyrics} context.
2056 @c Maybe more pedagogical to avoid \addlyrics in this first example? /MB
2057 @c Add tied and beamed melismata too.
2058 @lilypond[verbatim,singleline]
2060 \notes \relative c' {
2062 \property Staff.automaticMelismata = ##t
2063 d'2 c4 b16 ( a g a b a b ) c a2
2064 b2 c4 b8 ( a16 g ) a4 g2 }
2065 \context Lyrics \lyrics {
2067 share the soft -- ware; }
2071 Notes and syllable durations are matched automatically. This is
2072 accomplished using @code{\addlyrics}, which is documented in
2073 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
2074 the melody staff will cause tied, slurred or beamed notes to be
2075 interpreted as melismata.
2077 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
2080 @cindex lyric extender
2083 As you can see, extender lines are entered as @code{__}. This will
2084 create an extender, a line that extends over the entire duration of the
2085 lyric. This line will run all the way to the start of the next lyric,
2086 so you may want to shorten it by using a blank lyric (using @code{_}).
2087 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
2092 If you want to have hyphens centered between syllables (rather than
2093 attached to the end of the first syllable) you can use the special
2094 `@code{-}@code{-}' lyric as a separate word between syllables. This
2095 will result in a hyphen whose length varies depending on the space
2096 between syllables. It will be centered between the syllables. The grob
2097 for this symbol is @code{LyricsVoice.LyricHyphen}.
2099 @cindex Lyric hyphen
2101 @node Automatic syllable durations
2102 @subsection Automatic syllable durations
2103 @cindex Automatic syllable durations
2105 @cindex automatic lyric durations
2106 @cindex @code{\addlyrics}
2108 If you have lyrics that are set to a melody, you can copy the rhythm
2109 of that melody into the lyrics using @code{\addlyrics}. The syntax for
2112 \addlyrics @var{musicexpr1 musicexpr2}
2115 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
2116 music event (``every syllable'') in @var{musicexpr2} is interpreted only
2117 when there are events in @var{musicexpr1}.
2119 @cindex @code{automaticMelismata}
2121 If the property @code{automaticMelismata} is set in the
2122 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
2125 @lilypond[verbatim,fragment]
2128 \property Voice.automaticMelismata = ##t
2129 c8 () cis d8. e16 f2
2131 \context Lyrics \lyrics {
2135 If you want the lyric lines to be above the melody staff, or in some
2136 other, more complex configuration, then build that configuration first
2137 using simultaneous music, and use @code{\addlyrics} after that.
2139 @lilypond[verbatim, singleline]
2141 \context Lyrics = LA { s1 }
2142 \context Staff = SA { s1 }
2144 \context Staff = SA \relative c' { c4 e g g }
2145 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
2148 For @code{\addlyrics} you should use a single rhythm melody, and single
2149 rhythm lyrics (a constant duration is the obvious choice). If you do
2150 not, you can get undesired effects when using multiple stanzas:
2152 @lilypond[verbatim,fragment]
2155 c8 () cis d8. e16 f2
2157 \context Lyrics \lyrics
2162 It is valid (but probably not very useful) to use notes instead of
2163 lyrics for @var{musicexpr2}.
2166 @subsection More stanzas
2170 If you have multiple stanzas printed underneath each other, the vertical
2171 groups of syllables should be aligned around punctuation. LilyPond can
2172 do this if you tell it which lyric lines belong to which melody.
2174 To this end, give the Voice context an identity, and set the LyricsVoice
2175 to a name starting with that identity followed by a dash.
2176 In the following example, the Voice
2177 identity is @code{duet}, and the identities of the LyricsVoices are
2178 @code{duet-1} and @code{duet-2}.
2181 @lilypond[singleline,verbatim]
2184 \notes \relative c'' \context Voice = duet { \time 3/4
2186 \lyrics \context Lyrics <
2187 \context LyricsVoice = "duet-1" {
2188 \property LyricsVoice . stanza = "Bert"
2189 Hi, my name is bert. }
2190 \context LyricsVoice = "duet-2" {
2191 \property LyricsVoice . stanza = "Ernie"
2192 Ooooo, ch\'e -- ri, je t'aime. }
2197 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2198 first system) and @code{LyricsVoice.stz} for the following
2199 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2205 @cindex stanza numbering
2213 LilyPond has support for both entering and printing chords. Chords are
2214 characterized by a set of pitches. They are
2215 internally stored as simultaneous music expressions. This means you can
2216 enter chords by name and print them as note head, enter them as notes
2217 and print them as chord names, or (the most common case) enter them by
2218 name, and print them as name.
2221 @lilypond[verbatim,singleline]
2222 twoWays = \notes \transpose c'' {
2232 < \context ChordNames \twoWays
2233 \context Voice \twoWays > }
2236 Note that this example also shows that the chord printing routines do
2237 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2238 interpret this as an inversion.
2242 * Printing named chords::
2247 @subsection Chords mode
2250 Chord mode is a mode where you can input sets of pitches using common
2251 names. It is introduced by the keyword @code{\chords}. It is similar
2252 to note mode, but words are also looked up in a chord modifier table
2253 (containing @code{maj}, @code{dim}, etc).
2255 Dashes and carets are used to indicate chord additions and subtractions,
2256 so articulation scripts can not be entered in Chord mode.
2258 The syntax for named chords is as follows:
2260 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2263 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2264 the chord duration in the usual notation. There are two kinds of
2265 modifiers. One type is formed by @emph{chord additions}. Additions are
2266 obtained by listing intervals separated by dots. An interval is written
2267 by its number with an optional @code{+} or @code{-} to indicate raising
2268 or lowering by half a step. Chord additions have two effects: they adds
2269 the specified interval and all lower odd numbered intervals to the
2270 chord, and they may lower or raise the specified interval.
2272 Throughout these examples, chords have been shifted around the staff
2273 using @code{\transpose}.
2275 @lilypond[fragment,verbatim]
2279 c:9 c:9-.5+.7+ c:3-.5-
2289 The second type of modifier that may appear after the @code{:} is a
2290 named modifier. Named modifiers are listed in the file
2291 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2292 @code{min} which lower the 3rd half a step, `@code{aug}' which
2293 raises the 5th, `@code{dim}' which lowers the 5th,
2294 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2295 which replaces the 5th with a 4th.
2297 @lilypond[fragment,verbatim]
2300 c1:m c:min7 c:maj c:aug c:dim c:sus
2306 Chord subtractions are used to eliminate notes from a chord. The
2307 notes to be subtracted are listed after a @code{^} character,
2310 @lilypond[fragment,verbatim,center]
2319 Chord inversions can be specified by appending `@code{/}' and the name
2320 of a single note to a chord. In a chord inversion, the inverted note is
2321 transposed down until it is the lowest note in the chord. If the note
2322 is not in the chord, a warning will be printed.
2324 @lilypond[fragment,verbatim,center]
2334 Bass notes can be added by `@code{/+}' and
2335 the name of a single note to a chord. This has the effect of
2336 adding the specified note to the chord, lowered by an octave,
2337 so it becomes the lowest note in the chord.
2339 @lilypond[fragment,verbatim,center]
2350 Implementation details are quite gory. For example @code{c:4} not only
2351 adds a fourth, but also removes the third.
2354 @c . {Printing named chords}
2355 @node Printing named chords
2356 @subsection Printing named chords
2358 @cindex printing chord names
2362 For displaying printed chord names, use the @internalsref{ChordNames} context.
2363 The chords may be entered either using the notation described above, or
2364 directly using simultaneous music.
2366 @lilypond[verbatim,singleline]
2368 \chords {a1 b c} <d f g> <e g b>
2372 \context ChordNames \scheme
2373 \context Staff \transpose c'' \scheme
2378 You can make the chord changes stand out by setting
2379 @code{ChordNames.chordChanges} to true. This will only display chord
2380 names when there's a change in the chords scheme and at the start of a
2385 c1:m c:m \break c:m c:m d
2389 \context ChordNames {
2390 \property ChordNames.chordChanges = ##t
2392 \context Staff \transpose c'' \scheme
2396 LilyPond examines chords specified as lists of notes to determine a name
2397 to give the chord. LilyPond will not try to identify chord inversions or
2398 an added bass note, which may result in strange chord names when chords
2399 are entered as a list of pitches:
2401 @lilypond[verbatim,center,singleline]
2410 \context ChordNames \scheme
2411 \context Staff \scheme
2417 By default, a chord name system proposed by Harald Banter (See
2418 @ref{Literature}) is used. The system is very regular and predictable.
2419 Typical American style chord names may be selected by setting the
2420 @code{style} property of the @code{ChordNames.ChordName} grob to
2421 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2423 Routines that determine the names to be printed are written in Scheme,
2424 and may be customized by the user. The code can be found in
2425 @file{scm/chord-name.scm}. Here's an example showing the differences in
2429 @c maybe just junk verbatim option?
2430 @lilypond[verbatim,singleline]
2440 \context ChordNames = banter \scheme
2441 \context ChordNames = american {
2442 \property ChordNames.ChordName \override
2443 #'style = #'american \scheme }
2444 \context ChordNames = jazz {
2445 \property ChordNames.ChordName \override
2446 #'style = #'jazz \scheme }
2447 \context Staff \transpose c'' \scheme
2454 @section Writing parts
2456 Orchestral music involves some special notation, both in the full score,
2457 as in the individual parts. This section explains how to tackle common
2458 problems in orchestral music.
2465 * Instrument names::
2467 * Sound output for transposing instruments::
2468 * Multi measure rests::
2469 * Automatic part combining::
2470 * Hara kiri staves::
2473 @c . {Rehearsal marks}
2474 @node Rehearsal marks
2475 @subsection Rehearsal marks
2476 @cindex Rehearsal marks
2478 @cindex @code{\mark}
2482 \mark @var{unsigned}
2487 This command prints a rehearsal mark above the system. You can provide
2488 a number, a string or a markup text as argument. If you use
2489 @code{\default}, the value of property @code{rehearsalMark} is used and
2490 automatically incremented.
2492 @lilypond[fragment,verbatim]
2498 c1 \mark #'(music "scripts-segno")
2503 The grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See
2504 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2507 @subsection Bar numbers
2509 Bar numbers (grob: @internalsref{BarNumber}) are printed at the start of the
2510 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2514 It is not possible to have bar numbers printed at regular intervals
2517 @node Instrument names
2518 @subsection Instrument names
2520 You can specify an instrument name for a staff by setting
2521 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2522 before the start of the staff. For the first start, @code{instrument} is
2523 used, for the next ones @code{instr} is used.
2525 @lilypond[verbatim,singleline]
2526 \property Staff.instrument = "ploink " { c''4 }
2529 You can also use markup texts to construct more complicated instrument
2533 @lilypond[verbatim,singleline]
2535 '((font-relative-size . -2 ) (music "accidentals--1")))
2538 \property Staff.instrument = #`((kern . 0.5) (lines
2539 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2547 When you put a name on a grand staff or piano staff the width of the
2548 brace is not taken into account. You must add extra spaces to the end of
2549 the name to avoid a collision.
2552 @subsection Transpose
2554 @cindex transposition of pitches
2555 @cindex @code{\transpose}
2557 A music expression can be transposed with @code{\transpose}. The syntax
2560 \transpose @var{pitch} @var{musicexpr}
2563 This means that middle C in @var{musicexpr} is transposed to
2566 @code{\transpose} distinguishes between enharmonic pitches: both
2567 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2568 a tone. The first version will print sharps and the second version
2571 @lilypond[fragment,verbatim]
2574 { \key e \major c d e f }
2576 \transpose des'' { \key e \major c d e f }
2577 \transpose cis'' { \key e \major c d e f }
2581 If you want to use both @code{\transpose} and @code{\relative}, then
2582 you must use @code{\transpose} first. @code{\relative} will have no
2583 effect music that appears inside a @code{\transpose}.
2585 @node Sound output for transposing instruments
2586 @subsection Sound output transposing instruments
2588 When you want to make a MIDI file from a score containing transposed and
2590 instruments, you have to instruct LilyPond the pitch offset (in
2591 semitones) for the transposed instruments. This is done using the
2592 @code{transposing} property. It does not affect printed output.
2594 @cindex @code{transposing}
2597 \property Staff.instrument = #"Cl. in B-flat"
2598 \property Staff.transposing = #-2
2601 @c . {Multi measure rests}
2602 @node Multi measure rests
2603 @subsection Multi measure rests
2604 @cindex Multi measure rests
2608 Multi measure rests are entered using `@code{R}'. It is specifically
2609 meant for full bar rests and for entering parts: the rest can expand to
2611 rests, or it can be printed as a single multimeasure rest This expansion
2612 is controlled by the property @code{Score.skipBars}. If this is set to true,
2613 Lily will not expand empty measures, and the appropriate number is added
2616 @lilypond[fragment,verbatim]
2617 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2620 Notice that the @code{R2.} is printed as a whole rest, centered in the
2623 @cindex whole rests for a full measure
2625 The grob for this object is @internalsref{MultiMeasureRest}.
2629 Currently, there is no way to automatically condense multiple rests into
2630 a single multimeasure rest.
2632 @cindex condensing rests
2634 @node Automatic part combining
2635 @subsection Automatic part combining
2636 @cindex automatic part combining
2637 @cindex part combiner
2640 Automatic part combining is used to merge two parts of music onto a
2641 staff in an intelligent way. It is aimed primarily at typesetting
2642 orchestral scores. When the two parts are identical for a period of
2643 time, only one is shown. In places where the two parts differ, they are
2644 typeset as separate voices, and stem directions are set automatically.
2645 Also, solo and @emph{a due} parts can be identified and marked.
2647 The syntax for part combining is
2650 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2652 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2653 combined into one context of type @var{context}. The music expressions
2654 must be interpreted by contexts whose names should start with @code{one}
2657 The most useful function of the part combiner is to combine parts into
2658 one voice, as common for wind parts in orchestral scores:
2660 @lilypond[verbatim,singleline,fragment]
2662 \context Voice=one \partcombine Voice
2663 \context Thread=one \relative c'' {
2666 \context Thread=two \relative c'' {
2672 Notice that the first @code{g} appears only once, although it was
2673 specified twice (once in each part). Stem, slur and tie directions are
2674 set automatically, depending whether there is a solo or unisono. The
2675 first part (with context called @code{one}) always gets up stems, and
2676 `solo', while the second (called @code{two}) always gets down stems and
2679 If you just want the merging parts, and not the textual markings, you
2680 may set the property @var{soloADue} to false.
2682 @lilypond[verbatim,singleline,fragment]
2684 \property Staff.soloADue = ##f
2685 \context Voice=one \partcombine Voice
2686 \context Thread=one \relative c'' {
2689 \context Thread=two \relative c'' {
2695 There are a number of other properties that you can use to tweak the
2696 behavior of part combining, refer to the automatically generated
2697 documentation of @reng{Thread_devnull_engraver} and
2698 @reng{Voice_devnull_engraver}. Look at the documentation of the
2699 responsible engravers, @code{Thread_devnull_engraver},
2700 @code{Voice_devnull_engraver} and @code{A2_engraver}.
2704 In @code{soloADue} mode, when the two voices play the same notes on and
2705 off, the part combiner may typeset @code{a2} more than once in a
2708 @lilypond[fragment,singleline]
2710 \context Voice=one \partcombine Voice
2711 \context Thread=one \relative c'' {
2714 \context Thread=two \relative c'' {
2720 @cindex @code{Thread_devnull_engraver}
2721 @cindex @code{Voice_engraver}
2722 @cindex @code{A2_engraver}
2724 @node Hara kiri staves
2725 @subsection Hara kiri staves
2727 In orchestral scores, staff lines that only have rests are usually removed.
2728 This saves some space. LilyPond also supports this through the hara
2729 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2730 the Japanese Samourai warriors.} staff. This staff commits suicide when
2731 it finds itself to be empty after the line-breaking process. It will
2732 not disappear when it contains normal rests, you must use multi measure
2735 The hara kiri staff is specialized version of the @internalsref{Staff}
2736 context. It is available as the context identifier
2737 @code{\HaraKiriStaffContext}. Observe how the second staff in this
2738 example disappears in the second line.
2742 \notes \relative c' <
2743 \context Staff = SA { e4 f g a \break c1 }
2744 \context Staff = SB { c4 d e f \break R1 }
2748 \translator { \HaraKiriStaffContext }
2761 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2762 staff context symbol that appears at the end of a staff line. It
2763 anticipates the pitch of the first note(s) of the following line and
2764 thus helps the player or singer to manage line breaks during
2765 performance, thus enhancing readability of a score.
2770 \property Staff.Custos \set #'style = #'mensural
2775 \consists Custos_engraver
2781 Custodes were frequently used in music notation until the 17th century.
2782 There were different appearances for different notation styles.
2783 Nowadays, they have survived only in special forms of musical notation
2784 such as via the @emph{editio vaticana} dating back to the beginning of
2787 For typesetting custodes, just put a @code{Custos_engraver} into the
2788 @internalsref{Staff} context when declaring the @code{\paper} block. In this
2789 block, you can also globally control the appearance of the custos symbol
2790 by setting the custos @code{style} property. Currently supported styles
2791 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2798 \consists Custos_engraver
2799 Custos \override #'style = #'mensural
2804 The property can also be set locally, for example in a @code{\notes}
2809 \property Staff.Custos \override #'style = #'vaticana
2810 c'1 d' e' d' \break c' d' e' d'
2814 @c . {Tuning output}
2816 @section Tuning output
2818 LilyPond tries to take as much formatting as possible out of your
2819 hands. Nevertheless, there are situations where it needs some help, or
2820 where you want to override its decisions. In this section we discuss
2821 ways to do just that.
2823 Formatting is internally done by manipulating so called grobs (graphic
2824 objects). Each grob carries with it a set of properties (grob
2825 properties) specific to that object. For example, a stem grob has
2826 properties that specify its direction, length and thickness.
2828 The most direct way of tuning the output is by altering the values of
2829 these properties. There are two ways of doing that: first, you can
2830 temporarily change the definition of a certain type of grob, thus
2831 affecting a whole set of objects. Second, you can select one specific
2832 object, and set a grob property in that object.
2835 * Tuning groups of grobs ::
2836 * Tuning per grob ::
2844 @node Tuning groups of grobs
2845 @subsection Tuning groups of grobs
2847 @cindex grob description
2851 A grob definition is a Scheme association list, that is stored in a
2852 context property. By assigning to that property (using plain
2853 @code{\property}), you can change the resulting grobs.
2855 @lilypond[verbatim, fragment]
2856 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2859 The @code{\property} assignment effectively empties the definition of
2860 the Stem object. One of the effects is that the recipe of how it should be
2861 printed is erased, with the effect of rendering it invisible. The above
2862 assignment is available as a standard identifier, for the case that you
2866 \property Voice.Stem = \turnOff
2873 This mechanism is fairly crude, since you can only set, but not modify,
2874 the definition of a grob. For this reason, there is a more advanced
2877 The definition of a grob is actually a list of default grob
2878 properties. For example, the definition of the Stem grob (available in
2879 @file{scm/grob-description.scm}), defines the following values for
2884 (beamed-lengths . (0.0 2.5 2.0 1.5))
2885 (Y-extent-callback . ,Stem::height)
2889 You can add a property on top of the existing definition, or remove a
2890 property, thus overriding the system defaults:
2892 c'4 \property Voice.Stem \override #'thickness = #4.0
2893 c'4 \property Voice.Stem \revert #'thickness
2896 You should balance @code{\override} and @code{\revert}. If that's too
2897 much work, you can use the @code{\set} shorthand. It performs a revert
2898 followed by an override. The following example gives exactly the same
2899 result as the previous one.
2901 c'4 \property Voice.Stem \set #'thickness = #4.0
2902 c'4 \property Voice.Stem \set #'thickness = #0.8
2905 If you use @code{\set}, you must explicitly restore the default.
2908 Formally the syntax for these constructions is
2910 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2911 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2912 \property @var{context}.@var{grobname} \revert @var{symbol}
2914 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2915 and @var{grobname} are strings and @var{value} is a Scheme expression.
2918 If you revert a setting which was not set in the first place, then it
2919 has no effect. However, if the setting was set as a system default, it
2920 may remove the default value, and this may give surprising results,
2921 including crashes. In other words, @code{\override} and @code{\revert},
2922 must be carefully balanced.
2924 These are examples of correct nesting of @code{\override}, @code{\set},
2927 A clumsy but correct form:
2929 \override \revert \override \revert \override \revert
2932 Shorter version of the same:
2934 \override \set \set \revert
2937 A short form, using only @code{\set}. This requires you to know the
2940 \set \set \set \set @var{to default value}
2943 If there is no default (i.e. by default, the grob property is unset),
2946 \set \set \set \revert
2949 For the digirati, the grob description is an Scheme association
2950 list. Since a Scheme list is a singly linked list, we can treat it as a
2951 stack, and @code{\override} and @code{\revert} are just push and pop
2952 operations. This pushing and popping is also used for overriding
2953 automatic beaming settings.
2957 LilyPond will hang or crash if @var{value} contains cyclic references.
2958 The backend is not very strict in type-checking grob properties. If you
2959 @code{\revert} properties that are expected to be set by default,
2962 Some grobs are created at the moment that their context is created. An
2963 example of such a grob is the staff itself (i.e. the horizontal lines).
2964 You can not change the appearance of the staff symbol by manipulating
2965 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2966 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2967 created before any @code{\override} is effective. You can deal with this
2968 either overriding properties in a @code{\translator} definition, or by
2969 using @code{\outputproperty}.
2974 @node Tuning per grob
2975 @subsection Tuning per grob
2977 @cindex \outputproperty
2979 A second way of tuning grobs is the more arcane @code{\outputproperty}
2980 feature. The syntax is as follows:
2982 \outputproperty @var{predicate} @var{symbol} = @var{value}
2984 Here @code{predicate} is a Scheme function taking a grob argument, and
2985 returning a boolean. This statement is processed by the
2986 @code{Output_property_engraver}. It instructs the engraver to feed all
2987 grobs that it sees to @var{predicate}. Whenever the predicate returns
2988 true, the grob property @var{symbol} will be set to @var{value}.
2990 You will need to combine this statement with @code{\context} to select
2991 the appropriate context to apply this to.
2993 Here are some random examples.
2996 In the following example, all note heads occurring at current staff
2997 level, are shifted up and right by setting their @code{extra-offset}
3000 @lilypond[fragment,verbatim,singleline]
3002 \context Staff \outputproperty
3003 #(make-type-checker 'note-head-interface)
3004 #'extra-offset = #'(0.5 . 0.75)
3008 @cindex @code{extra-offset}
3010 In this example, the predicate checks the @code{text} grob property, to
3011 shift only the `m.d.' text, but not the fingering instruction "2".
3012 @lilypond[verbatim,singleline]
3013 #(define (make-text-checker text)
3014 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3017 \notes\relative c''' {
3018 \property Voice.Stem \set #'direction = #1
3019 \outputproperty #(make-text-checker "m.d.")
3020 #'extra-offset = #'(-3.5 . -4.5)
3028 If possible, avoid this feature: the semantics are not very clean, and
3029 the syntax and semantics are up for rewrite.
3035 @subsection What to tune?
3037 This all tells you how to tune grobs, but you don't know what variables
3038 to set? The question is not answered in this part of the manual
3039 (although you may encounter some examples.).
3041 Grob properties are tied directly to the implementation of LilyPond, and
3042 they are thus a moving target. Documentation of such variables is in the
3043 automatically generated documentation. Description of properties are
3044 generated from the source code for each version. This documentation is
3045 therefore more up to date. It should be available from the same place
3046 where you got this manual.
3048 To decide how to tune a grob, you need to find the following information
3051 which grob to modify
3053 which property to modify
3055 which context the grob comes from.
3058 Included with the automatically generated documentation is a master list
3059 of grobs. Selecting a grob will take you to an overview of the
3060 properties available for that grob.
3062 There is also a master list of contexts. Selecting one takes you to an
3063 overview of that context which lists which grob types are created there.
3066 @node Font selection
3067 @subsection Font selection
3069 Most graphics in LilyPond are composed of characters of fonts. You can
3070 alter the characteristics of the font by setting certain grob
3071 properties. The mechanism that is used for this resembles La@TeX{}'s New
3072 Font Selection Scheme. Within this scheme, a font is entirely
3073 characterized by its font name.
3075 For each grob that uses fonts (in other words, each grob that supports
3076 @code{font-interface}) a font-name must be selected before it can be
3077 printed. The font name is selected by looking at a number of grob
3082 A symbol indicating the general class of the typeface. Supported are
3083 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
3084 @code{music} (the standard music font), @code{dynamic} (font for dynamic
3085 signs) and @code{typewriter}
3088 A symbol indicating the shape of the font, there are typically several
3089 font shapes available for each font family. Choices are @code{italic},
3090 @code{caps} and @code{upright}
3093 A symbol indicating the series of the font. There are typically several
3094 font series for each font family and shape. Choices are @code{medium}
3097 @item font-relative-size
3098 A number indicating the size relative the standard size. For example,
3099 with 20pt staff height, relative size -1 corresponds to 16pt staff
3100 height, and relative size +1 corresponds to 23 pt staff height.
3102 @item font-design-size
3103 A number indicating the design size of the font.
3105 This is a feature of the Computer Modern Font: each point size has a
3106 slightly different design. Smaller design sizes are relatively wider,
3107 which enhances readability. Scalable type faces such TrueType and Adobe
3108 Type1 usually come as ``one design fits all sizes''.
3111 The name of the font, without the design size, e.g. @code{cmr},
3112 @code{cmti}, etc. Setting this overrides font-family, font-shape and
3117 The font is selected by taking the first font that satisfies all
3118 qualifiers specified. You can override any of these fields through
3119 @code{\override} and @code{\revert}. The special value @code{*} matches
3120 any value for that qualifier.
3123 \property Lyrics.LyricText \override #'font-series = #'bold
3124 \property Lyrics.LyricText \override #'font-shape = #'*
3127 @cindex @code{font-style}
3129 There are also pre-cooked font selection qualifiers. These are selected
3130 through the grob property @code{font-style}. For example, the style
3131 @code{finger} selects family @code{number} and relative size @code{-3}.
3132 Styles available include @code{volta}, @code{finger}, @code{tuplet},
3133 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
3136 The style sheets and tables for selecting fonts are located in
3137 @file{scm/font.scm}. Refer to this file for more information.
3141 Relative size is not linked to any real size.
3143 There is no mechanism to select magnification of particular fonts,
3144 meaning that you don't have access to continuously scaled fonts. You
3145 can scale the entire output, of course, see @ref{Output scaling}.
3147 There is no style sheet provided for other fonts besides the @TeX{}
3150 @cindex font selection
3151 @cindex font magnification
3152 @cindex @code{font-interface}
3156 @subsection Text markup
3160 LilyPond has an internal mechanism to typeset texts. You can
3161 form text markup expressions by composing scheme expressions
3162 in the following way.
3164 @lilypond[verbatim, singleline]
3169 c^#'(italic "italic")
3170 d_#'((bold italic) "ff")
3172 f_#'(lines "one" (bold "two"))
3173 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3177 Normally, the Scheme markup text is stored in the @code{text} property
3178 of a grob. Formally, it is defined as follows:
3181 text: string | (head? text+)
3182 head: markup | (markup+)
3183 markup-item: property | abbrev
3184 property: (@var{key} . @var{value})
3185 abbrev: @code{columns lines roman music bold italic named super sub}
3186 @code{overstrike text finger volta timesig mmrest mark script}
3187 @code{large Large dynamic}
3190 The markup is broken down and converted into a list of grob properties,
3191 which are prepended to the property list. The @var{key}-@var{value}
3192 pair is a grob property. A list of properties available is included in
3193 the generated documentation for @rint{Text_interface}.
3195 The following abbreviations are currently defined:
3198 horizontal mode: set all text on one line (default)
3200 vertical mode: set every text on a new line
3204 selects the Feta font (the standard font for music notation glyphs),
3205 and uses named lookup
3212 lookup by character name
3214 plain text lookup (by character value)
3220 the next text or character overstrikes this one
3222 select fingering number fontstyle
3224 select volta number fontstyle
3226 select time signature number fontstyle
3228 select multi measure rest number fontstyle
3230 select mark number fontstyle
3232 select scriptsize roman fontstyle
3234 select large roman fontstyle
3236 select Large roman fontstyle
3238 select dynamics fontstyle
3242 @cindex metronome mark
3244 One practical application of complicated markup is to fake a metronome
3248 #(define note '(columns
3249 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3250 #(define eight-note `(columns ,note ((kern . -0.1)
3251 (music ((raise . 3.5) "flags-u3")))))
3252 #(define dotted-eight-note
3253 `(columns ,eight-note (music "dots-dot")))
3256 \notes\relative c'' {
3257 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3263 TextScript \override #'font-shape = #'upright
3269 @node Invisible grobs
3270 @subsection Invisible grobs
3271 @cindex invisible grobs
3275 ben nog steeds niet kapot van de informatiedichtheid hier.
3281 You can imagine a number of situations where you would want to make
3282 certain grobs not show up in the output. There may be aesthetic
3283 reasons, to make the output resemble an (old) manuscript as close as
3284 possible, or to make lessons or exercises for students.
3286 Grobs can be made invisible in a number of ways:
3288 Here's an example with blanked-out notes and stems:
3289 @lilypond[singleline,verbatim]
3291 \property Voice.NoteHead \override
3293 \property Voice.Stem \override
3294 #'transparent = ##t }
3297 \property Voice.NoteHead \revert #'transparent
3298 \property Voice.Stem \revert #'transparent }
3301 \notes\relative c'' {
3303 a b c b \blanknotes c \unblanknotes d
3307 This method makes the grobs invisible but they still take the normal space.
3308 To remove all traces of the grob, you can redefine the function
3312 \notes\relative c'' {
3315 as bes c bes c d \break
3316 \property Staff.KeySignature \override #'molecule-callback = #'()
3319 \paper{linewidth=5.0\cm indent=0}
3323 A very rigorous way of removing grobs from the whole score is to remove
3324 the engraver that creates them. For example,
3326 @lilypond[singleline,verbatim]
3327 \score {\notes { c'4 d'8 e'8 g2 }
3328 \paper { \translator {
3330 \remove Stem_engraver
3336 @subsection Dirty tricks
3337 @cindex embedded tex
3339 It is possible to use @TeX{} commands in the strings, but this should be
3340 avoided because it makes it impossible for LilyPond to compute the
3341 exact length of the string, which may lead to collisions. Also, @TeX{}
3342 commands won't work with direct PostScript output (see @ref{PostScript
3345 @lilypond[fragment,relative,verbatim]
3346 a'^"3 $\\times$ \\`a deux"
3349 You can also use raw PostScript commands embedded in text scripts. This
3350 offers ultimate flexibility, but requires you to learn PostScript.
3351 Currently, embedded PostScript will @strong{not} work with direct
3352 PostScript output. Note that all dimensions that you use are in staff
3357 \notes \relative c'' {
3358 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3359 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3360 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3364 \paper { linewidth = 70*\staffspace }
3371 @section Page layout
3374 The page layout is the combined product of LilyPond formatting notation,
3375 and (La)@TeX{} putting the notation on a page, including page breaks.
3376 The part of LilyPond is documented here.
3390 @subsection Paper block
3393 The most important output definition is the @code{\paper} block, for
3394 music notation. The syntax is
3397 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3400 where each of the items is one of
3403 @item An assignment.
3405 @item A context definition. See @ref{Interpretation context} for
3406 more information on context definitions.
3408 @item \stylesheet declaration. Its syntax is
3410 \stylesheet @var{alist}
3413 See @file{scm/font.scm} for details of @var{alist}.
3414 @item an @code{\elementdescriptions} declaration.
3416 \elementdescriptions @var{alist}
3418 See @file{scm/grob-description.scm} for details of
3419 @var{alist}. This command is not user-serviceable.
3423 @c . {Paper variables}
3424 @node Paper variables
3425 @subsection Paper variables
3426 @cindex Paper variables
3428 The paper block has some variables you may want to use or change:
3431 @cindex @code{indent}
3433 The indentation of the first line of music.
3434 @cindex @code{staffspace}
3436 @item @code{staffspace}
3437 The distance between two staff lines, calculated from the center
3440 @cindex @code{linewidth}
3441 @item @code{linewidth}
3442 Sets the width of the lines.
3444 If set to a negative value, a single unjustified line is produced.
3445 @c rename to singleLinePaper ?
3446 The shorthand @code{\singleLine} defines a default paper block that
3447 produces a single line.
3449 @cindex @code{textheight}
3451 @item @code{textheight}
3452 Sets the total height of the music on each page. Only used by
3455 @cindex @code{interscoreline}
3457 @item @code{interscoreline}
3458 Sets the spacing between systems. The default is 16pt.
3460 @cindex @code{interscorelinefill}
3462 @item @code{interscorelinefill}
3463 If set to a positive number, the distance between the score
3464 lines will stretch in order to fill the full page. In that
3465 case @code{interscoreline} specifies the minimum spacing.
3470 @cindex @code{stafflinethickness}
3472 @item @code{stafflinethickness}
3473 Determines the thickness of staff lines, and also acts as a scaling
3474 parameter for other line thicknesses.
3477 You may enter these dimension using units (@code{cm}, @code{in},
3478 @code{mm}, @code{pt}), or relative to another dimension
3480 linewidth = 20.0 * \staffspace
3487 @subsection Font size
3490 The Feta font provides musical symbols at six different sizes. These
3491 fonts are 11 point, 13 point, 16 point, 20 point,
3492 23 point, and 26 point. The point size of a font is the
3493 height of the five lines in a staff when displayed in the font.
3495 Definitions for these sizes are the files @file{paperSZ.ly}, where
3496 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3497 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3498 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3499 @code{paperTwentysix} are defined respectively. The default
3500 @code{\paper} block is also set.
3502 The font definitions are generated using a Scheme function. For more
3503 details, see the file @file{scm/font.scm}.
3509 @subsection Paper size
3514 @cindex @code{papersize}
3516 To change the paper size, you must first set the
3517 @code{papersize} variable at top level. Set it to
3518 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3519 specification, you must set the font as described above. If you want
3520 the default font, then use the 20 point font.
3524 \include "paper16.ly"
3527 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3528 will set the paper variables @code{hsize} and @code{vsize} (used by
3533 @subsection Line break
3536 @cindex breaking lines
3538 Line breaks are normally computed automatically. They are chosen such
3539 that the resulting spacing has low variation, and looks neither cramped
3542 Occasionally you might want to override the automatic breaks; you can do
3543 this by specifying @code{\break}. This will force a line break at this
3544 point. Do remember that line breaks can only occur at places where there
3545 are bar lines. If you want to have a line break where there is no
3546 bar line, you can force an invisible bar line by entering @code{\bar
3547 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3549 @cindex @code{\penalty}
3551 The @code{\break} and @code{\noBreak} commands are defined in terms of
3552 the penalty command:
3557 This encourages or discourages LilyPond to make a line break at this
3562 The scaling of the @code{\penalty} argument is not well-defined. The
3563 command is rather kludgey, and slated for rewriting.
3567 @subsection Page break
3570 @cindex breaking pages
3572 Page breaks are normally computed by @TeX{}, so they are not under
3573 direct control of LilyPond. However, you can insert a commands into the
3574 @file{.tex} output to instruct @TeX{} where to break pages, by inserting
3575 the command @code{\newpage}
3576 @cindex @code{\newpage}
3582 @c why do so difficult?
3583 @c maybe should explain contents of between-system.ly,
3584 @c but not now, we're talking about page breaks here.
3586 @c details, see the example file @file{input/test/between-systems.ly}
3589 @c . {Output scaling}
3590 @node Output scaling
3591 @subsection Output scaling
3606 There is no mechanism to select magnification of particular fonts,
3607 meaning that you don't have access to continuously scaled fonts.
3611 @c . {Output formats}
3612 @node Output formats
3613 @section Output formats
3615 LilyPond can output processed music in different output formats.
3619 * PostScript output::
3621 * ASCIIScript output::
3625 @subsection TeX output
3628 LilyPond will use @TeX{} by default. Even if you want to produce
3629 PostScript output for viewing or printing, you should normally have
3630 LilyPond produce @TeX{} first. The .tex output must be processed by
3631 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3632 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3633 used to generate the .dvi for you.
3637 Titling is not generated unless you use @file{ly2dvi}.
3640 @node PostScript output
3641 @subsection PostScript output
3642 @cindex PostScript output
3643 @cindex direct PostScript output
3645 LilyPond can produce PostScript directly, without going through @TeX{}.
3646 Currently, this is mainly useful if you cannot use TeX, because direct
3647 PostScript output has some problems; see Bugs below.
3650 $ lilypond -fps foo.ly
3651 GNU LilyPond 1.3.144
3652 Now processing: `foo.ly'
3654 Interpreting music...[3]
3655 Preprocessing elements...
3656 Calculating column positions...
3657 paper output to foo.ps...
3659 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3665 Text font selection is broken.
3667 The .ps file does not contain the .pfa font files. To print a .ps
3668 created through direct postscript output, you should prepend the
3669 necessary .pfa files to LilyPond's .ps output, or upload them to the
3670 printer before printing.
3672 The line height calculation is broken, you must set @var{lineheight} in
3673 the paperblock if you have more than one staff in your score, e.g.
3678 % Set line height to 40 staff spaces
3684 @subsection Scheme output
3685 @cindex Scheme output
3687 In the typesetting stage, LilyPond builds a page description, which is
3688 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3689 written, the page description is represented as Scheme expressions. You
3690 can also dump these Scheme expressions to a file, which may be
3691 convenient for debugging output routines. This is done with the Scheme
3695 $ lilypond -fscm foo.ly
3696 GNU LilyPond 1.3.144
3697 Now processing: `foo.ly'
3699 Interpreting music...[3]
3700 Preprocessing elements...
3701 Calculating column positions...
3702 paper output to foo.scm...
3705 ;;; Usage: guile -s x.scm > x.tex
3706 (primitive-load-path 'standalone.scm)
3710 $ guile -s foo.scm > foo.tex
3714 @node ASCIIScript output
3715 @subsection ASCIIScript output
3716 @cindex ASCIIScript output
3717 @cindex ascii script
3720 LilyPond can output ASCII Art. This is a two step process, LilyPond
3721 produces an ASCII description file, dubbed ASCIIScript (extension
3722 @file{.as}). ASCIIScript has a small and simple command set that
3723 includes font selection, character and string printing and line drawing
3724 commands. The program @file{as2text} is used to translate an .as file
3727 To produce ASCII Art, you must include an ASCII Art paper definition
3728 file in your .ly, one of:
3730 \include "paper-as5.ly"
3731 \include "paper-as9.ly"
3734 Here's an example use for ASCII Art output (the example file
3735 @file{as-email.ly} is included in the LilyPond distribution), the staff
3736 symbol has been made invisible:
3739 $ lilypond -fas as-email.ly
3740 GNU LilyPond 1.3.144
3741 Now processing: `as-email.ly'
3743 Interpreting music...[3]
3744 Preprocessing elements...
3745 Calculating column positions... [2]
3746 paper output to as-email.as...
3748 $ as2text as-email.as 2>/dev/null
3750 |/ |##|##| | | | | |
3751 /| | | | | |\ |\ |\ |\ |\ |
3752 / |_ 3 | | | | 5 | )| )| )| )| )|
3753 | /| \ 8 * * * | 8 * * * * * |
3763 The ASCII Art fonts are far from complete and not very well designed.
3764 It's easy to change the glyphs, though; if you think you can do better,
3765 have a look at @file{mf/*.af}.
3767 Lots of resizable symbols such as slurs, ties and tuplets are missing.
3769 The poor looks of most ASCII Art output and its limited general
3770 usefulness gives ASCII Art output a low priority; it may be
3771 dropped in future versions.
3778 LilyPond can produce MIDI output. The performance lacks lots of
3779 interesting effects, such as swing, articulation, slurring, etc., but it
3780 is good enough for proof-hearing the music you have entered. Ties,
3781 dynamics and tempo changes are interpreted.
3783 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3784 levels. Dynamic marks translate to a fixed fraction of the available
3785 MIDI volume range, crescendi and decrescendi make the the volume vary
3786 linearly between their two extremities. The fractions be adjusted by
3787 overriding the @code{absolute-volume-alist} defined in
3788 @file{scm/midi.scm}.
3790 For each type of musical instrument (that MIDI supports), a volume range
3791 can be defined. This gives you basic equalizer control, which can
3792 enhance the quality of the MIDI output remarkably. You can add
3793 instruments and ranges or change the default settings by overriding the
3794 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3796 Both loudness controls are combined to produce the final MIDI volume.
3801 It is currently not possible to use the percussion channel (generally
3802 channel 10 of a MIDI file).
3806 * MIDI instrument names::
3811 @subsection MIDI block
3815 The MIDI block is analogous to the paper block, but it is somewhat
3816 simpler. The @code{\midi} block can contain:
3820 @item a @code{\tempo} definition
3821 @item context definitions
3824 Assignments in the @code{\midi} block are not allowed.
3828 @cindex context definition
3830 Context definitions follow precisely the same syntax as within the
3831 \paper block. Translation modules for sound are called performers.
3832 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3835 @node MIDI instrument names
3836 @subsection MIDI instrument names
3838 @cindex instrument names
3839 @cindex @code{Staff.midiInstrument}
3840 @cindex @code{Staff.instrument}
3842 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3843 property or, if that property is not set, the @code{Staff.instrument}
3844 property. The instrument name should be chosen from the list in
3845 @ref{MIDI instruments}.
3849 If the selected string does not exactly match, then LilyPond uses the
3850 default (Grand Piano). It is not possible to select an instrument by
3860 @c FIXME: Note entry vs Music entry at top level menu is confusing.
3863 @section Music entry
3871 When entering music with LilyPond, it is easy to introduce errors. This
3872 section deals with tricks and features that help you enter music, and
3873 find and correct mistakes.
3877 @subsection Relative
3879 @cindex relative octave specification
3881 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3882 When you copy existing music, it is easy to accidentally put a pitch in
3883 the wrong octave and hard to find such an error. To prevent these
3884 errors, LilyPond features octave entry.
3886 @cindex @code{\relative}
3888 \relative @var{startpitch} @var{musicexpr}
3891 The octave of notes that appear in @var{musicexpr} are calculated as
3892 follows: If no octave changing marks are used, the basic interval
3893 between this and the last note is always taken to be a fourth or less
3894 (This distance is determined without regarding alterations; a
3895 @code{fisis} following a @code{ceses} will be put above the
3898 The octave changing marks @code{'} and @code{,} can be added to raise or
3899 lower the pitch by an extra octave. Upon entering relative mode, an
3900 absolute starting pitch must be specified that will act as the
3901 predecessor of the first note of @var{musicexpr}.
3903 Entering music that changes octave frequently is easy in relative mode.
3904 @lilypond[fragment,singleline,verbatim,center]
3910 And octave changing marks are used for intervals greater than a fourth.
3911 @lilypond[fragment,verbatim,center]
3913 c g c f, c' a, e'' }
3916 If the preceding item is a chord, the first note of the chord is used
3917 to determine the first note of the next chord. However, other notes
3918 within the second chord are determined by looking at the immediately
3921 @lilypond[fragment,verbatim,center]
3928 @cindex @code{\notes}
3930 The pitch after the @code{\relative} contains a note name. To parse
3931 the pitch as a note name, you have to be in note mode, so there must
3932 be a surrounding @code{\notes} keyword (which is not
3935 The relative conversion will not affect @code{\transpose},
3936 @code{\chords} or @code{\relative} sections in its argument. If you
3937 want to use relative within transposed music, you must place an
3938 additional @code{\relative} inside the @code{\transpose}.
3943 @subsection Bar check
3947 @cindex @code{barCheckNoSynchronize}
3951 Whenever a bar check is encountered during interpretation, a warning
3952 message is issued if it doesn't fall at a measure boundary. This can
3953 help you find errors in the input. Depending on the value of
3954 @code{barCheckNoSynchronize}, the beginning of the measure will be
3955 relocated, so this can also be used to shorten measures.
3957 A bar check is entered using the bar symbol, @code{|}:
3959 \time 3/4 c2 e4 | g2.
3962 @c . {Point and click}
3963 @node Point and click
3964 @subsection Point and click
3966 Point and click lets you find notes in the input by clicking on them in
3967 the Xdvi window. This makes it very easy to find input that causes some
3968 error in the sheet music.
3970 To use it, you need the following software
3972 @unnumberedsubsec Installation
3976 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3977 Xdvi} version 22.36 or newer.
3979 Note that most @TeX{} distributions ship with xdvik, which is a
3980 different and less well maintained program. To find out which xdvi you
3981 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3985 Xdvi must be configured to find the TeX fonts and music
3986 fonts. Refer to the Xdvi documentation for more information.
3989 @unnumberedsubsec Using it
3991 Add one of these lines to the top of your .ly file. The first one is for
3992 line location only. The second one is more convenient, but requires
3993 patching @code{emacsclient} and @code{server.el}.
3996 #(set! point-and-click line-location)
3999 In the emacs startup file (usually @file{~/.emacs}), add the following
4004 Make sure that the environment variable @code{XEDITOR} is set
4007 emacsclient --no-wait +%l %f
4009 The second one, that also specifies the column, only works if you have
4010 patched your emacsclient and server, and have compiled your @code{.ly}
4011 file using the @code{line-column-location} setting.
4013 When viewing, control-mousebutton 1 will take you to the originating
4014 spot in the @file{.ly} file. Control-mousebutton 2 will show all
4018 @unnumberedsubsec Column location
4020 If you want emacs to jump to the exact spot (and not just the line) on a
4021 click, you must enable column positioning. To do so, you need to patch
4022 emacsclient. Apply @file{emacsclient.patch} (included with the source
4023 package) to @file{emacsclient.c} and @file{server.el} from the emacs
4024 source code. Recompile and stick the recompiled emacsclient into a bin
4025 directory, and put @file{server.el} into a elisp directory
4026 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
4027 init file, before invoking server-start.
4030 (setq load-path (cons "~/usr/share/emacs" load-path))
4033 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
4035 At the top of the @code{ly} file, replace the @code{set!} line with the
4038 #(set! point-and-click line-column-location)
4041 One final hint: if you correct large files with point-and-click, then
4042 start correcting at the end of the file. When you start at the top, and
4043 insert one line, all subsequent locations will be off by a line.
4048 When you convert the @TeX{} file to PostScript using @code{dvips}, it
4049 will complain about not finding @code{src:X:Y} files. Those complaints
4050 are harmless, and can be ignored.
4052 @node Skipping corrected music
4053 @section Skipping corrected music
4055 The property @code{Score.skipTypesetting} can be used to switch on and
4056 off typesetting completely during the interpretation phase. When
4057 typesetting is switched off, the music is processed much more quickly.
4058 You can use this to skip over the parts of a score that you have already
4061 @lilypond[fragment,singleline,verbatim]
4062 \relative c'' { c8 d
4063 \property Score.skipTypesetting = ##t
4065 \property Score.skipTypesetting = ##f
4070 @node Interpretation context
4071 @section Interpretation context
4074 * Creating contexts::
4075 * Default contexts::
4076 * Context properties::
4077 * Engravers and performers::
4078 * Changing context definitions::
4079 * Defining new contexts::
4083 Interpretation contexts are objects that only exist during a run of
4084 LilyPond. During the interpretation phase of LilyPond (when it prints
4085 "interpreting music"), the music expression in a @code{\score} block is
4086 interpreted in time order. This is the same order that humans hear and
4089 During this interpretation, the interpretation context holds the
4090 state for the current point within the music. It contains information
4094 @item What notes are playing at this point?
4095 @item What symbols will be printed at this point?
4096 @item What is the current key signature, time signature, point within
4100 Contexts are grouped hierarchically: A @internalsref{Voice} context is
4101 contained in a @internalsref{Staff} context (because a staff can contain
4102 multiple voices at any point), a @internalsref{Staff} context is contained in
4103 @internalsref{Score}, @internalsref{StaffGroup}, or @internalsref{ChoirStaff} context.
4105 Contexts associated with sheet music output are called @emph{notation
4106 contexts}, those for sound output are called @emph{performance
4107 contexts}. The default definitions of the standard notation and
4108 performance contexts can be found in @file{ly/engraver.ly} and
4109 @file{ly/performer.ly}, respectively.
4112 @node Creating contexts
4113 @subsection Creating contexts
4115 @cindex @code{\context}
4116 @cindex context selection
4118 Contexts for a music expression can be selected manually, using the
4119 following music expression.
4122 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
4125 This instructs lilypond to interpret @var{musicexpr} within the context
4126 of type @var{contexttype} and with name @var{contextname}. If this
4127 context does not exist, it will be created.
4129 @lilypond[verbatim,singleline]
4131 \notes \relative c'' {
4132 c4 <d4 \context Staff = "another" e4> f
4138 In this example, the @code{c} and @code{d} are printed on the
4139 default staff. For the @code{e}, a context Staff called
4140 @code{another} is specified; since that does not exist, a new
4141 context is created. Within @code{another}, a (default) Voice context
4142 is created for the @code{e4}. When all music referring to a
4143 context is finished, the context is ended as well. So after the
4144 third quarter, @code{another} is removed.
4148 @node Default contexts
4149 @subsection Default contexts
4151 Most music expressions don't need an explicit @code{\context}
4152 declaration: they inherit the
4153 notation context from their parent. Each note is a music expression, and
4154 as you can see in the following example, only the sequential music
4155 enclosing the three notes has an explicit context.
4157 @lilypond[verbatim,singleline]
4158 \score { \notes \context Voice = goUp { c'4 d' e' } }
4161 There are some quirks that you must keep in mind when dealing with
4164 First, every top level music is interpreted by the Score context, in other
4165 words, you may think of @code{\score} working like
4168 \context Score @var{music}
4172 Second, contexts are created automatically to be able to interpret the
4173 music expressions. Consider the following example.
4175 @lilypond[verbatim, singleline]
4176 \score { \context Score \notes { c'4 ( d' )e' } }
4179 The sequential music is interpreted by the Score context initially
4180 (notice that the @code{\context} specification is redundant), but when a
4181 note is encountered, contexts are setup to accept that note. In this
4182 case, a Thread, Voice and Staff are created. The rest of the sequential
4183 music is also interpreted with the same Thread, Voice and Staff context,
4184 putting the notes on the same staff, in the same voice.
4186 This is a convenient mechanism, but do not expect opening chords to work
4187 without @code{\context}. For every note, a separate staff is
4190 @cindex explicit context
4191 @cindex starting with chords
4192 @cindex chords, starting with
4194 @lilypond[verbatim, singleline]
4195 \score { \notes <c'4 es'> }
4198 Of course, if the chord is preceded by a normal note in sequential
4199 music, the chord will be interpreted by the Thread of the preceding
4201 @lilypond[verbatim,singleline]
4202 \score { \notes { c'4 <c'4 es'> } }
4207 @node Context properties
4208 @subsection Context properties
4210 Notation contexts have properties. These properties are from
4211 the @file{.ly} file using the following expression:
4212 @cindex @code{\property}
4214 \property @var{contextname}.@var{propname} = @var{value}
4217 Sets the @var{propname} property of the context @var{contextname} to the
4218 specified Scheme expression @var{value}. All @var{propname} and
4219 @var{contextname} are strings, which are typically unquoted.
4221 Properties that are set in one context are inherited by all of the
4222 contained contexts. This means that a property valid for the
4223 @internalsref{Voice} context can be set in the @internalsref{Score} context (for
4224 example) and thus take effect in all @internalsref{Voice} contexts.
4226 Properties can be unset using the following expression:
4228 \property @var{contextname}.@var{propname} \unset
4231 @cindex properties, unsetting
4232 @cindex @code{\unset}
4234 This removes the definition of @var{propname} in @var{contextname}. If
4235 @var{propname} was not defined in @var{contextname} (but was inherited
4236 from a higher context), then this has no effect.
4241 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4242 the inverse of @code{\property \set}.
4244 @node Engravers and performers
4245 @subsection Engravers and performers
4249 Basic building blocks of translation are called engravers; they are
4250 special C++ classes.
4254 @c . {Context definitions}
4255 @node Changing context definitions
4256 @subsection Changing context definitions
4258 @cindex context definition
4259 @cindex translator definition
4261 The most common way to define a context is by extending an existing
4262 context. You can change an existing context from the paper block, by
4263 first initializing a translator with an existing context identifier:
4267 @var{context-identifier}
4270 Then you can add and remove engravers using the following syntax:
4272 \remove @var{engravername}
4273 \consists @var{engravername}
4277 Here @var{engravername} is a string, the name of an engraver in the
4281 @lilypond[verbatim,singleline]
4285 \translator { \StaffContext
4286 \remove Clef_engraver
4292 You can also set properties in a translator definition. The syntax is as
4295 @var{propname} = @var{value}
4296 @var{propname} \set @var{grob-propname} = @var{pvalue}
4297 @var{propname} \override @var{grob-propname} = @var{pvalue}
4298 @var{propname} \revert @var{grob-propname}
4300 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4301 and @code{pvalue} are Scheme expressions. These type of property
4302 assignments happen before interpretation starts, so a @code{\property}
4303 command will override any predefined settings.
4306 To simplify editing translators, all standard contexts have standard
4307 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4308 @code{VoiceContext}, see @file{ly/engraver.ly}.
4310 @node Defining new contexts
4311 @subsection Defining new contexts
4313 If you want to build a context from scratch, you must also supply the
4314 following extra information:
4316 @item A name, specified by @code{\name @var{contextname}}.
4318 @item A cooperation module. This is specified by @code{\type
4325 \type "Engraver_group_engraver"
4328 \consists "Staff_symbol_engraver"
4329 \consists "Note_head_engraver"
4330 \consistsend "Axis_group_engraver"
4334 The argument of @code{\type} is the name for a special engraver that
4335 handles cooperation between simple engravers such as
4336 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4337 for this engraver are the following:
4339 @cindex @code{Engraver_group_engraver}
4340 @item @code{Engraver_group_engraver}
4341 The standard cooperation engraver.
4343 @cindex @code{Score_engraver}
4345 @item @code{Score_engraver}
4346 This is cooperation module that should be in the top level context,
4347 and only the top level context.
4349 @cindex @code{Grace_engraver_group}
4351 @item @code{Grace_engraver_group}
4352 This is a special cooperation module (resembling
4353 @code{Score_engraver}) that is used to create an embedded
4360 @item @code{\alias} @var{alternate-name}
4361 This specifies a different name. In the above example,
4362 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4364 @item @code{\consistsend} @var{engravername}
4365 Analogous to @code{\consists}, but makes sure that
4366 @var{engravername} is always added to the end of the list of
4369 Some engraver types need to be at the end of the list; this
4370 insures they stay there even if a user adds or removes engravers.
4371 End-users generally don't need this command.
4373 @item @code{\accepts} @var{contextname}
4374 Add @var{contextname} to the list of contexts this context can
4375 contain in the context hierarchy. The first listed context is the
4376 context to create by default.
4378 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4379 completeness, but is never used in practice.
4382 @item @code{\name} @var{contextname}
4383 This sets the type name of the context, e.g. @internalsref{Staff},
4384 @internalsref{Voice}. If the name is not specified, the translator won't do
4388 In the @code{\paper} block, it is also possible to define translator
4389 identifiers. Like other block identifiers, the identifier can only
4390 be used as the very first item of a translator. In order to define
4391 such an identifier outside of @code{\score}, you must do
4396 foo = \translator @{ @dots{} @}
4403 \translator @{ \foo @dots{} @}
4411 @cindex paper types, engravers, and pre-defined translators
4418 @c . {Syntactic details}
4419 @node Syntactic details
4420 @section Syntactic details
4421 @cindex Syntactic details
4423 This section describes details that were too boring to be put elsewhere.
4428 * Music expressions::
4429 * Manipulating music expressions::
4437 @subsection Top level
4440 This section describes what you may enter at top level.
4444 @subsubsection Score
4447 @cindex score definition
4449 The output is generated combining a music expression with an output
4450 definition. A score block has the following syntax:
4453 \score @{ @var{musicexpr} @var{outputdefs} @}
4456 @var{outputdefs} are zero or more output definitions. If none is
4457 supplied, the default @code{\paper} block will be added.
4461 @c . {Default output}
4462 @subsubsection Default output
4464 Default values for the @code{\paper} and @code{\midi} block are set by
4465 entering such a block at the top level.
4468 @subsubsection Header
4470 @cindex @code{\header}
4473 A header describes bibliographic information of the file's contents. It
4474 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4475 use this information for generating titles. Key values that are used by
4476 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4477 meter, arranger, piece and tagline.
4479 @cindex @code{ly2dvi}
4483 \header @{ @var{key1} = @var{val1}
4484 @var{key2} = @var{val2} @dots{} @}
4487 It is customary to put the @code{\header} at the top of the file.
4489 @subsubsection Default output
4491 A @code{\midi} or @code{\paper} block at top level sets the default
4492 paper block for all scores that lack an explicit paper block.
4496 @subsection Identifiers
4500 What has this section got to do with identifiers?
4501 It seems more appropriate in the introduction to Chapter 4,
4507 All of the information in a LilyPond input file, is internally
4508 represented as a Scheme value. In addition to normal Scheme data types
4509 (such as pair, number, boolean, etc.), LilyPond has a number of
4510 specialized data types,
4517 @item Translator_def
4521 @item Music_output_def
4522 @item Moment (rational number)
4525 LilyPond also includes some transient object types. Objects of these
4526 types are built during a LilyPond run, and do not `exist' per se within
4527 your input file. These objects are created as a result of your input
4528 file, so you can include commands in the input to manipulate them,
4529 during a lilypond run.
4532 @item Grob: short for Graphical object. See @ref{Grobs}.
4533 @item Molecule: device-independent page output object,
4534 including dimensions. Produced by some Grob functions
4536 @item Translator: object that produces audio objects or Grobs. This is
4537 not yet user accessible.
4538 @item Font_metric: object representing a font. (See @ref{Font metrics})
4543 @node Music expressions
4544 @subsection Music expressions
4546 @cindex music expressions
4548 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4549 syllables are music expressions, and you can combine music expressions
4550 to form new ones, for example by enclosing a list of expressions in
4551 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4552 compound expression is formed out of the quarter note @code{c} and a
4553 quarter note @code{d}:
4556 \sequential @{ c4 d4 @}
4559 @cindex Sequential music
4560 @cindex @code{\sequential}
4561 @cindex sequential music
4564 @cindex Simultaneous music
4565 @cindex @code{\simultaneous}
4567 The two basic compound music expressions are simultaneous and
4571 \sequential @code{@{} @var{musicexprlist} @code{@}}
4572 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4574 For both, there is a shorthand:
4576 @code{@{} @var{musicexprlist} @code{@}}
4580 @code{<} @var{musicexprlist} @code{>}
4582 for simultaneous music.
4583 In principle, the way in which you nest sequential and simultaneous to
4584 produce music is not relevant. In the following example, three chords
4585 are expressed in two different ways:
4587 @lilypond[fragment,verbatim,center]
4588 \notes \context Voice {
4589 <a c'> <b d' > <c' e'>
4590 < { a b c' } { c' d' e' } >
4595 Other compound music expressions include
4598 \transpose @var{pitch} @var{expr}
4599 \apply @var{func} @var{expr}
4600 \context @var{type} = @var{id} @var{expr}
4601 \times @var{fraction} @var{expr}
4605 @c . {Manipulating music expressions}
4606 @node Manipulating music expressions
4607 @subsection Manipulating music expressions
4609 The @code{\apply} mechanism gives you access to the internal
4610 representation of music. You can write Scheme-functions that operate
4611 directly on it. The syntax is
4613 \apply #@var{func} @var{music}
4615 This means that @var{func} is applied to @var{music}. The function
4616 @var{func} should return a music expression.
4618 This example replaces the text string of a script. It also shows a dump
4619 of the music it processes, which is useful if you want to know more
4620 about how music is stored.
4622 @lilypond[verbatim,singleline]
4623 #(define (testfunc x)
4624 (if (equal? (ly-get-mus-property x 'text) "foo")
4625 (ly-set-mus-property x 'text "bar"))
4627 (ly-set-mus-property x 'elements
4628 (map testfunc (ly-get-mus-property x 'elements)))
4633 \apply #testfunc { c'4_"foo" }
4637 For more information on what is possible, see the automatically
4638 generated documentation.
4641 Directly accessing internal representations is dangerous: the
4642 implementation is subject to changes, so you should avoid this feature
4645 A final example is a function that reverses a piece of music in time:
4647 @lilypond[verbatim,singleline]
4648 #(define (reverse-music music)
4649 (let* ((elements (ly-get-mus-property music 'elements))
4650 (reversed (reverse elements))
4651 (span-dir (ly-get-mus-property music 'span-direction)))
4652 (ly-set-mus-property music 'elements reversed)
4654 (ly-set-mus-property music 'span-direction (- span-dir)))
4655 (map reverse-music reversed)
4658 music = \notes { c'4 d'4( e'4 f'4 }
4660 \score { \context Voice {
4662 \apply #reverse-music \music
4667 More examples are given in the distributed example files in
4670 @c . {Span requests}
4676 @subsubsection Span requests
4677 @cindex Span requests
4679 Notational constructs that start and end on different notes can be
4680 entered using span requests. The syntax is as follows:
4684 \spanrequest @var{startstop} @var{type}
4688 @cindex @code{\start}
4689 @cindex @code{\stop}
4691 This defines a spanning request. The @var{startstop} parameter is either
4692 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4693 describes what should be started. Much of the syntactic sugar is a
4694 shorthand for @code{\spanrequest}, for example,
4696 @lilypond[fragment,verbatim,center]
4697 c'4-\spanrequest \start "slur"
4698 c'4-\spanrequest \stop "slur"
4701 Among the supported types are @code{crescendo}, @code{decrescendo},
4702 @code{beam}, @code{slur}. This is an internal command. Users are
4703 encouraged to use the shorthands which are defined in the initialization
4704 file @file{spanners.ly}.
4709 @subsection Assignments
4712 Identifiers allow objects to be assigned to names during the parse
4713 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4714 and to refer to an identifier, you precede its name with a backslash:
4715 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4716 the input-types listed above. Identifier assignments can appear at top
4717 level in the LilyPond file, but also in @code{\paper} blocks.
4719 An identifier can be created with any string for its name, but you will
4720 only be able to refer to identifiers whose names begin with a letter,
4721 being entirely alphabetical. It is impossible to refer to an identifier
4722 whose name is the same as the name of a keyword.
4724 The right hand side of an identifier assignment is parsed completely
4725 before the assignment is done, so it is allowed to redefine an
4726 identifier in terms of its old value, e.g.
4732 When an identifier is referenced, the information it points to is
4733 copied. For this reason, an identifier reference must always be the
4734 first item in a block.
4738 \paperIdent % wrong and invalid
4742 \paperIdent % correct
4747 @c . {Lexical modes}
4749 @subsection Lexical modes
4750 @cindex Lexical modes
4753 @cindex @code{\notes}
4754 @cindex @code{\chords}
4755 @cindex @code{\lyrics}
4757 To simplify entering notes, lyrics, and chords, LilyPond has three
4758 special input modes in addition to the default mode: note, lyrics and
4759 chords mode. These input modes change the way that normal, unquoted
4760 words are interpreted: for example, the word @code{cis} may be
4761 interpreted as a C-sharp, as a lyric syllable `cis' or as a C-sharp
4762 major triad respectively.
4764 A mode switch is entered as a compound music expression
4766 @code{\notes} @var{musicexpr}
4767 @code{\chords} @var{musicexpr}
4768 @code{\lyrics} @var{musicexpr}.
4771 In each of these cases, these expressions do not add anything to the
4772 meaning of their arguments. They just instruct the parser in what mode
4773 to parse their arguments. The modes are treated in more detail in
4774 @ref{Lyrics} and @ref{Chords}.
4776 Different input modes may be nested.
4780 @subsection Ambiguities
4785 The grammar contains a number of ambiguities. We hope to resolve them at
4789 @item The assignment
4794 is interpreted as the string identifier assignment. However,
4795 it can also be interpreted as making a string identifier @code{\foo}
4796 containing @code{"bar"}, or a music identifier @code{\foo}
4797 containing the syllable `bar'.
4799 @item If you do a nested repeat like
4811 then it is ambiguous to which @code{\repeat} the
4812 @code{\alternative} belongs. This is the classic if-then-else
4813 dilemma. It may be solved by using braces.
4815 @item The parser is not sophisticated enough to distinguish at the
4817 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4824 @c . {Lexical details}
4825 @node Lexical details
4826 @section Lexical details
4828 Even more boring details, now on lexical side of the input parser.
4839 * Version information::
4844 @subsection Comments
4847 @cindex block comment
4848 @cindex line comment
4852 A one line comment is introduced by a @code{%} character.
4853 Block comments are started by @code{%@{} and ended by @code{%@}}.
4854 They cannot be nested.
4857 @subsection Direct Scheme
4861 @cindex Scheme, in-line code
4864 LilyPond contains a Scheme interpreter (the GUILE library) for
4865 internal use. In some places, Scheme expressions also form valid syntax:
4866 wherever it is allowed,
4870 evaluates the specified Scheme code. Example:
4872 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4874 @code{\override} expects two Scheme expressions, so there are two Scheme
4875 expressions. The first one is a symbol (@code{foobar}), the second one
4876 an integer (namely, 3).
4878 In-line scheme may be used at the top level. In this case the result is
4881 Scheme is a full-blown programming language, and a full discussion is
4882 outside the scope of this document. Interested readers are referred to
4883 the website @uref{http://www.schemers.org/} for more information on
4888 @subsection Keywords
4892 Keywords start with a backslash, followed by a number of lower case
4893 alphabetic characters. These are all the keywords.
4896 apply arpeggio autochange spanrequest commandspanrequest
4897 simultaneous sequential accepts alternative bar breathe
4898 char chordmodifiers chords clef cm consists consistsend
4899 context denies duration dynamicscript elementdescriptions
4900 font grace header in lyrics key mark pitch
4901 time times midi mm name pitchnames notes outputproperty
4902 override set revert partial paper penalty property pt
4903 relative remove repeat addlyrics partcombine score
4904 script stylesheet skip textscript tempo translator
4909 @subsection Integers
4917 Formed from an optional minus sign followed by digits. Arithmetic
4918 operations cannot be done with integers, and integers cannot be mixed
4923 @cindex real numbers
4929 Formed from an optional minus sign and a sequence of digits followed
4930 by a @emph{required} decimal point and an optional exponent such as
4931 @code{-1.2e3}. Reals can be built up using the usual operations:
4932 `@code{+}', `@code{-}', `@code{*}', and
4933 `@code{/}', with parentheses for grouping.
4941 A real constant can be followed by one of the dimension keywords:
4942 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4943 points, inches and centimeters, respectively. This converts the number
4944 a number that is the internal representation of that dimension.
4952 Begins and ends with the @code{"} character. To include a @code{"}
4953 character in a string write @code{\"}. Various other backslash
4954 sequences have special interpretations as in the C language. A string
4955 that contains no spaces can be written without the quotes. Strings can
4956 be concatenated with the @code{+} operator.
4960 @subsection Main input
4963 @cindex @code{\maininput}
4965 The @code{\maininput} command is used in init files to signal that the
4966 user file must be read. This command cannot be used in a user file.
4968 @node File inclusion
4969 @subsection File inclusion
4970 @cindex @code{\include}
4972 \include @var{filename}
4975 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4976 unquoted string will not work here!) or a string identifier. The full
4977 filename including the @file{.ly} extension must be given,
4980 @node Version information
4981 @subsection Version information
4982 @cindex @code{\version}
4984 \version @var{string}
4987 Specify the version of LilyPond that a file was written for. The
4988 argument is a version string in quotes, for example @code{"1.2.0"}.
4989 This is used to detect invalid input, and to aid
4990 @code{convert-ly} a tool that automatically upgrades input files. See
4991 See @ref{convert-ly} for more information on @code{convert-ly}.
5000 @c .{Local emacs vars}
5003 @c minor-mode: font-lock
5004 @c minor-mode: outline
5005 @c outline-layout: (-1 : 0)
5006 @c outline-use-mode-specific-leader: "@c \."
5007 @c outline-primary-bullet: "{"
5008 @c outline-stylish-prefixes: nil
5009 @c outline-override-protect: t