\input texinfo @c -*-texinfo-*- @setfilename mudela.info @settitle Reference Manual @node Top, , , (dir) @top @menu * Tutorial:: a tutorial introduction to lilypond * Reference Manual:: Reference Manual * Glossary:: A dictionary of musical terms. @end menu @macro keyindex {word} @cindex \word\ @end macro @macro indexcode {word} @cindex \word\ @end macro @node Tutorial, , , Top @menu * Introduction:: Introduction * The first tune:: The first tune * Lyrics and chords:: Lyrics and chords * Piano music:: Piano music * end of tutorial:: The end @end menu @chapter Tutorial @node Introduction, , , Tutorial @section Introduction LilyPond prints music from a specification that you, the user, supply. You have to give that specification using a @emph{language}. This document is a gentle introduction to that language, which is called Mudela, an acronym of Music Definition Language. This tutorial will demonstrate how to use Mudela by presenting examples of input along with resulting output. We will use English terms for notation. In case you are not familiar with those, you may consult the glossary that is distributed with LilyPond. The examples discussed are included in the distribution, in the subdirectory @file{input/tutorial/}. It is recommended that you experiment with writing Mudela input yourself, to get a feel for how LilyPond behaves. @node The first tune, , , Tutorial @section The first tune To demonstrate what LilyPond input looks like, we start off with a full fledged, yet simple example. It is a convoluted version of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}. @mudela[verbatim] % lines preceded by a percent are comments. \include "paper16.ly" \score { \notes \relative c'' \sequential{ \time 3/4; \key g; \repeat "volta" 2 { d4 g,8 a b c d4 g, g | e'4 c8 d e fis g4 g, g | c4 d8()c b a( )b4 c8 b a g | a4 [b8 a] [g fis] g2. | } b'4 g8 a b g a4 d,8 e fis d | g4 e8 fis g d cis4 b8 cis a4 | a8-. b-. cis-. d-. e-. fis-. g4 fis e | fis a, r8 cis8 d2.-\fermata \bar "|."; } \paper { % standard settings are too wide for a book linewidth = 14.0 \cm; } } @end mudela Enter it (or copy it, the filename is @file{menuet.ly}), compile it with LilyPond and view the output. Details of this procedure may vary from system to system. To create the output, one would issue the command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does the job of running LilyPond and TeX, handling of titles and adjusting of page margins. If all goes well, the file @file{menuet.dvi} will be created. To view this output, issue the command `@code{xdvi menuet}'. Now that we are familiar with the procedure of producing output, we will analyse the input, line by line. @ignore Let's try to redo this @example % lines preceded by a percent are comments. @end example The percent sign, `@code{%}', introduces a line comment. If you want to make larger comments, you can use block comments. These are delimited by `@code{%@{}' and `@code{%@}}' @end ignore @multitable @columnfractions .60 .39 @item @noindent @c @example urg: no tt font @c @exdent % lines preceded by a percent are comments. @exdent @code{% lines preceded by a percent are comments.} @c @end example @tab The percent sign, `@code{%}', introduces a line comment. If you want to make larger comments, you can use block comments. These are delimited by `@code{%@{}' and `@code{%@}}' @end multitable @example \input "paper16.ly" @end example By default, LilyPond will use definitions for a 20 point@footnote{A point is the standard measure of length for printing. One point is 1/72.27 inch.} high staff. We want smaller output (16 point staff height), so we must import the settings for that size, which is done.@example \score @{ @end example A mudela file combines music with directions for outputting that music. The music is combined with the output directions by putting them into a @code{\score} block. @example \notes @end example This makes LilyPond ready for accepting notes. @example \relative c'' @end example As we will see, pitches are combinations of octave, note name and chromatic alteration. In this scheme, the octave is indicated by using raised quotes (`@code{'}') and ``lowered'' quotes (commas: `@code{,}'). The central C is denoted by @code{c'}. The C one octave higher is @code{c''}. One and two octaves below the central C is denoted by @code{c} and @code{c,} respectively. For pitches in a long piece you might have to type many quotes. To remedy this, LilyPond has a ``relative'' octave entry mode. In this mode, octaves of notes without quotes are chosen such that a note is as close as possible (graphically, on the staff) to the the preceding note. If you add a high-quote an extra octave is added. The lowered quote (a comma) will subtract an extra octave. Because the first note has no predecessor, you have to give the (absolute) pitch of the note to start with.@example \sequential @{ @end example What follows is sequential music, i.e., notes that are to be played and printed after each other.@example \time 3/4; @end example This command changes the time signature of the current piece: a 3/4 sign is printed. This command is also used to generate bar lines in the right spots.@example \key g; @end example This command changes the current key to G-major. Although this command comes after the @code{\time} command, in the output, the key signature comes before the time signature: LilyPond knows about music typesetting conventions. @example \repeat "volta" 2 @end example This command tells LilyPond that the following piece of music must be played twice; @code{"volta"} volta brackets should be used for alternatives---if there were any. @example @{ @end example The subject of the repeat is again sequential music. Since @code{\sequential} is such a common construct, a shorthand is provided: just leave off @code{\sequential}, and the result is the same. @example d4 @end example This is a note with pitch @code{d} (determined up to octaves). The relative music was started with a @code{c''}, so the real pitch of this note is @code{d''}. The @code{4} designates the duration of the note (it is a quarter note). @example a b @end example These are notes with pitch @code{a} and @code{b}. Because their duration is the same as the @code{g}, there is no need to enter the duration (You may enter it anyway, eg. @code{a4 b4}) @example d4 g, g | @end example Three more notes. The `@code{|}' character is a `barcheck'. When processing the music, LilyPond will verify that barchecks are found at the start of a measure. This can help you track down errors. So far, no notes were chromatically altered. Here is the first one that is: @code{fis}. Mudela by default uses Dutch note names, and ``Fis'' is the Dutch note name for ``F sharp''. However, there is no sharp sign in the output. The program keeps track of key signatures, and will only print accidentals if they are needed. @example c8 d e fis @end example LilyPond guesses were beams can be added to eighth and shorter notes. In this case, a beam over 4 eighths is added. @example c4 d8( )c b a( )b4 c8 b a g | @end example The next line shows how to make a slur: the beginning and ending note of the slur is marked with an opening and closing parenthesis respectively. In the line shown above this is done for two slurs. Slur markers (parentheses) are between the notes.@example a4 [b8 a] [g fis] @end example Automatic beaming can be overridden by inserting beam marks (brackets). Brackets are put around notes you want beamed.@example g2. | @end example A duration with augmentation dot is notated with the duration number followed by a period.@example @} @end example This ends the sequential music to be repeated. LilyPond will typeset a repeat bar. @example cis'4 b8 cis a4 | @end example This line shows that Lily will print an accidental if that is needed: the first C sharp will be printed with an accidental, the second one without. @example a8-. b-. cis-. d-. e-. fis-. @end example You can enter articulation signs either in a verbose form using a shorthand. Here we demonstrate the shorthand: it is formed by a dash and the the character for the articulation to use, e.g. `@code{-.}' for staccato as shown above. @example fis a, r8 cis8 @end example Rests are denoted by the special notename `@code{r}'. You can also enter an invisible rest by using the special notename `@code{s}'. @example d2.-\fermata @end example All articulations have a verbose form, like @code{\fermata}. The command `@code{\fermata}' is not part of the core of the language (most of the other discussed elements are), but it is a shorthand for a more complicated description of a fermata. @code{\fermata} names that description and is therefore called an @emph{identifier}. @example @} @end example Here the music ends. @example \paper @{ linewidth = 14.0\cm; @} @end example This specifies a conversion from music to notation output. Most of the details of this conversions (font sizes, dimensions, etc.) have been taken care of, but to fit the output in this document, it has to be smaller. We do this by setting the line width to 14 centimeters (approximately 6 inches). @example @} @end example The last brace ends the @code{\score} block. There are two things to note here. The format contains musical concepts like pitches and durations, instead of symbols and positions: the input format tries to capture the meaning of @emph{music}, and not notation. Therefore Second, the format tries to be @emph{context-free}: a note will sound the same regardless of the current time signature, the key, etc. The purpose of LilyPond is explained informally by the term `music typesetter'. This is not a fully correct name: not only does the program print musical symbols, it also makes esthetic decisions. All symbols and their placement is @emph{generated} from a high-level musical description. In other words, LilyPond would be best described by `music compiler' or `music to notation compiler'. @node Lyrics and chords, , , Tutorial @section Lyrics and chords In this section we show how to typeset a song of unknown origin.@footnote{The author would welcome information about the origin of this song.}. @example \header @{ title = "The river is flowing"; composer = "Traditional (?)"; @} \include "paper16.ly" melody = \notes \relative c' @{ \partial 8; g8 | c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g | c4 c8 d [es () d] c4 | d4 es8 d c4. \bar "|."; @} text = \lyrics @{ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the ri -- ver is flo -- wing down to the sea. @} accompaniment =\chords @{ r8 c2-3- f-3-.7 d-min es4 c8-min r8 c2-min f-min7 g-7^3.5 c-min @} \score @{ \simultaneous @{ % \accompaniment \context ChordNames \accompaniment \addlyrics \context Staff = mel @{ \property Staff.noAutoBeaming = "1" \property Staff.automaticMelismata = "1" \melody @} \context Lyrics \text @} \midi @{ @} \paper @{ linewidth = 10.0\cm; @} @} @end example The result would look this@footnote{The titling and font size shown may differ, since the titling in this document is not generated by @file{ly2dvi}.}. @center @strong{The river is flowing} @center Traditional @mudela[center] \header { title = "The river is flowing"; composer = "Traditional (?)"; } \include "paper16.ly" melody = \notes \relative c' { \partial 8; g8 | c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g | c4 c8 d [es () d] c4 | d4 es8 d c4. \bar "|."; } text = \lyrics { The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the ri -- ver is flo -- wing down to the sea. } accompaniment =\chords { r8 c2-3- f-3-.7 d-min es4 c8-min r8 c2-min f-min7 g-7^3.5 c-min } \score { \simultaneous { % \accompaniment \context ChordNames \accompaniment \addlyrics \context Staff = mel { \property Staff.noAutoBeaming = "1" \property Staff.automaticMelismata = "1" \melody } \context Lyrics \text } \midi { } \paper { linewidth = 10.0\cm; } } @end mudela Again, we will dissect the file line by line.@example \header @{ @end example Information about the music you are about to typeset goes into a @code{\header} block. The information in this block is not used by LilyPond, but it is included in the output. @file{ly2dvi} uses this information to print titles above the music. @example title = "The river is flowing"; composer = "Traditional (?)"; @end example the @code{\header} block contains assignments. An assignment starts with a string. (which is unquoted, in this case). Then comes the equal sign `@code{=}'. After the equal sign comes the expression you want to store. In this case, you want to put in strings. The information has to be quoted here, because it contains spaces. The assignment is finished with a semicolon.@example \include "paper16.ly" @end example Smaller size for inclusion in a book.@example melody = \notes \relative c' @{ @end example The structure of the file will be the same as the previous one, a @code{\score} block with music in it. To keep things readable, we will give names to the different parts of music, and use the names to construct the music within the score block. @example \partial 8; @end example The piece starts with an anacrusis of one eighth. @example c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g | c4 c8 d [es () d] c4 | d4 es8 d c4. \bar "|."; @end example We use explicit beaming. Since this is a song, we will turn automatic beams off, and use explicit beaming where needed.@example @} @end example This ends the definition of @code{melody}. Note that there are no semicolons after assignments at top level.@example text = \lyrics @{ @end example Another identifier assignment. This one is for the lyrics. Lyrics are formed by syllables that have duration, and not by notes. To make LilyPond parse words as syllables, switch it into lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics} is a shorthand for @code{\sequential @{}. @example The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the ri- ver is flo- __ wing down to the sea. @} @end example The syllables themselves are separated by spaces. You can get syllable extenders by entering `@code{__}', and centered hyphens with `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes in length (hence the @code{4}), and use a feature to align the syllables to the music (which obviously isn't all quarter notes.) @example accompaniment =\chords @{ @end example We'll put chords over the music. There is a special mode (analogous to @code{\lyrics} and @code{\notes} mode) where you can give the names of the chords you want, instead of the notes comprising the chord. @example r8 @end example There is no accompaniment during the anacrusis.@example c2-3- f-3-.7 @end example A chord is started by the tonic of the chord. The first one lasts a half note. An unadorned note creates a major triad, while a minor triad is wanted. @code{3-} modifies the third to be small. @code{7} modifies (adds) a seventh, which is small by default to create the @code{f a c es} chord. Multiple modifiers must be separated by a dot.@example d-min es4 c8-min r8 @end example Some modifiers have predefined names, eg. @code{min} is the same as @code{3-}, so @code{d-min} is a minor @code{d} chord.@example c2-min f-min7 g-7^3.5 c-min @} @end example A named modifier @code{min} and a normal modifier @code{7} do not have to be separated by a dot. Tones from a chord are removed with chord subtractions. Subtractions are started with a caret, and they are also separated by dots. In this example, @code{g-7^3.5} produces a minor seventh. The brace ends the sequential music. @example \score @{ \simultaneous @{ @end example We assemble the music in the @code{\score} block. Melody, lyrics and accompaniment have to sound at the same time, so they should be @code{\simultaneous}.@example %\accompaniment @end example Chord mode generates notes grouped in @code{\simultaneous} music. If you remove the comment sign, you can see the chords in normal notation: they will be printed as note heads on a separate staff. @example \context ChordNames \accompaniment @end example Normally, the notes that you enter are transformed into note heads. The note heads alone make no sense, they need surrounding information: a key signature, a clef, staff lines, etc. They need @emph{context}. In LilyPond, these symbols are created by objects called `interpretation context'. Interpretation contexts only exist during a run of LilyPond. Interpretation contexts that are for printing music (as opposed to playing music) are called `notation context'. By default, LilyPond will create a Staff contexts for you. If you would remove the @code{%} sign in the previous line, you can see that mechanism in action. We don't want default contexts here, because we want names, not note heads. An interpretation context can also created upon explicit request. The keyword for such a request is @code{\context}. It takes two arguments. The first is the name of a interpretation context. The name is a string, it can be quoted with double quotes). The second argument is the music that should be interpreted in this context. For the previous line, we could have written @code{\context Staff \accompaniment}, and get the same effect.@example \addlyrics @end example The lyrics need to be aligned with the melody. This is done by combining both with @code{\addlyrics}. @code{\addlyrics} takes two pieces of music (usually a melody and lyrics, in that order) and aligns the syllables of the second piece under the notes of the first piece. If you would reverse the order, the notes would be aligned on the lyrics, which is not very useful. (Besides, it looks silly.)@example \context Staff = mel @{ @end example This is the argument of @code{\addlyrics}. We instantiate a @code{Staff} context explicitly: should you chose to remove comment before the ``note heads'' version of the accompaniment, the accompaniment will be on a nameless staff. The melody has to be on a different staff as the accompaniment. This is accomplished by giving the melody staff a different name.@example \property Staff.noAutoBeaming = "1" @end example An interpretation context has variables that tune its behaviour. One of the variables is @code{noAutoBeaming}. If set and non-zero (i.e., true) LilyPond will not try to put automatic beaming on the current staff.@example \property Staff.automaticMelismata = "1" @end example Similarly, we don't want to print a syllable when there is a slur. This sets up the Staff context to signal slurs while @code{\addlyrics} is processed. @example \melody @} @end example Finally, we put the melody on the current staff. Note that the @code{\property} directives and @code{\melody} are grouped in sequential music, so the property settings are done before the melody is processed. @example \context Lyrics \text @end example The second argument of @code{\addlyrics} is the text. The text also should not land on a Staff, but on a interpretation context for syllables, extenders, hyphens etc. This context is called Lyrics.@example @} @end example This ends @code{\simultaneous}.@example \midi @{ @} @end example This makes the music go to a MIDI file. MIDI is great for checking music you enter. You listen to the MIDI file: if you hear something unexpected, it's probably a typing error. @code{\midi} is an `output definition', a declaration that specifies how to output music analogous to @code{\paper @{ @}}.@example \paper @{ linewidth = 10.0\cm; @} @end example We also want notation output. The linewidth is short so the piece will be set in two lines. @example @} @end example End the score block. @node Piano music, , , Tutorial @section Piano music Our third subject is a piece piano music. The fragment in the input file is a piano reduction of the G major Sinfonia by Giovanni Battista Sammartini. It was composed around 1740. @mudela[verbatim] \include "paper16.ly"; viola = \notes \relative c' \context Voice = viola { \property Voice.verticalDirection = \down g'8. b,16 s1 s2. r4 g } oboes = \notes \relative c'' \context Voice = oboe { \stemup s4 g8. b,16 c8 r \grace \times 2/3 { } < { \times 2/3 { a8 g c } \! c2 } \context Voice = oboeTwo { \stemdown \grace { \property Grace.verticalDirection = \down [f,16 g] } f8 e e2 } > \stemboth \grace <)b8. d8.-\trill> | [ < )f8. a>] <)b,8 d> r [ ] r | [ < )e8. g>] } hoomPah = \notes \transpose c' { c8 \translator Staff = top \stemdown c'8 \translator Staff = bottom \stemup } hoomPahHoomPah = { [\hoomPah \hoomPah] } bassvoices = \notes \relative c' { c4 g8. b,16 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \stemdown [c8 c'8] r4 r4 < {\stemup r2 } \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } > } \score { \context PianoStaff \notes < \context Staff = top < \time 2/2; \context Voice = viola \viola \oboes > \context Staff = bottom < \time 2/2; \clef bass; \bassvoices > > \midi { } \paper { indent = 0.0; linewidth = 15.0 \cm; } } @end mudela If it looks like incomprehensible gibberish to you@dots{} Then you are right. The author has doctored this example to have as many quirks in one system as possible.@example viola = \notes \relative c' \context Voice = viola @{ @end example In this example, you can see multiple parts on a staff. Each part is associated with one notation context. This notation context handles stems and dynamics (among others). The name of this context is @code{Voice}. For each part we have to make sure that there is precisely one Voice context@footnote{If @code{\context} would not have been specified explicitly, three @code{Voice} contexts would be created: one for each note in the first chord.}.@example @end example @code{<} and @code{>} are short hands for @code{\simultaneous @{} and @code{@}}. So the expression enclosed in @code{<} and @code{>} is a chord. @code{\f} places a forte symbol under the chord.@example \property Voice.verticalDirection = \down @end example @code{verticalDirection} is a property of the voice context. It controls the directions of stems, articulations marks and other symbols. If @code{verticalDirection} is set to @code{\down} (identifier for the integer -1) the stems go down, @code{\up} (identifier for the integer 1) makes the stems go up.@example g'8. b,16 @end example Relative octaves work a little differently with chords. The starting point for the note following a chord is the first note of the chord. So the @code{g} gets an octave up quote: it is a fifth above the starting note of the previous chord (the central C). @example s1 s2. r4 @end example @code{s} is a `spacer' rest. It does not print anything, but it does have the duration of a rest. @example oboes = \notes \relative c'' \context Voice = oboe @{ @end example Now comes a part for two oboes. They play homophonically, so we print the notes as one voice that makes chords. Again, we insure that these notes are indeed processed by precisely one context with @code{\context}.@example \stemup s4 g8. b,16 c8 r @end example @code{\stemup} is an identifier reference. It is shorthand for @code{\property Voice.verticalDirection = \up}. If possible, you should use predefined identifiers like these for setting properties. Your input will be less dependent upon the implementation of LilyPond. @example \grace < )d4 f> @end example @code{\grace} introduces grace notes. It takes one argument, in this case a chord. The slur started on the @code{e} of the chord will be attached to the next note.@footnote{LilyPond will squirm about unended Slurs. In this case, you can ignore the warning}. @example \times 2/3 @end example Tuplets are made with the @code{\times} keyword. It takes two arguments: a fraction and a piece of music. The duration of the second argument is multiplied by the first argument. Triplets make notes occupy 2/3 of their notated duration, so in this case the fraction is 2/3. @example @{ @} @end example The piece of music to be `tripletted' is sequential music containing three notes. On the first chord (the @code{d}), a crescendo is started with @code{\<}.@example < @end example At this point, the homophonic music splits into two rhythmically different parts. We can't use a sequence of chords to enter this, so we make a `chord' of sequences to do it. We start with the upper voice, which continues with upward stems: @example @{ \times 2/3 @{ a8 g c @} \! c2 @} @end example The crescendo is ended at the half note by the escaped exclamation mark `@code{\!}'. @example \context Voice = oboeTwo @{ \stemdown @end example We can't share stems with the other voice, so we have to create a new @code{Voice} context. We give it the name @code{oboeTwo} to distinguish it from the other context. Stems go down in this voice. @example \grace @{ @end example When a grace section is processed, a @code{Grace} context is created. This context acts like a miniature score of its own. It has its own time bookkeeping, and you can make notes, beams, slurs etc. Here fiddle with a property and make a beam. The argument of @code{\grace} is sequential music.@example \property Grace.verticalDirection = \down [f,16 g] @} @end example Normally, grace notes are always stem up, but in this case, the upper voice interferes. We set the stems down here. As far as relative mode is concerned, the previous note is the @code{c'''2} of the upper voice, so we have to go an octave down for the @code{f}. @example f8 e e2 @} > @end example This ends the two-part section. @example \stemboth \grace <)b8. d8.-\trill> | @end example @code{\stemboth} ends the forced stem directions. From here, stems are positioned as if it were single part music. The bass has a little hoom-pah melody to demonstrate parts switching between staffs. Since it is repetitive, we use identifiers:@example hoomPah = \notes \transpose c' @{ @end example Transposing can be done with @code{\transpose}. It takes two arguments; the first specifies what central C should be transposed to. The second is the to-be-transposed music. As you can see, in this case, the transposition is a no-op. Central C is transposed to central C. The purpose of this no-op is circumventing relative mode. Relative mode can not be used in conjunction with transposition, so relative mode will leave the contents of @code{\hoomPah} alone. We can use it without having to worry about getting the motive in a wrong octave@footnote{@code{hoomPah = \relative @dots{}} would be more intuitive to use, but that would not let me plug @code{\transpose} :-).}.@example c8 \translator Staff = top \stemdown @end example We assume that the first note will be put in the lower staff. After that note we switch to the upper staff with @code{\translator}. To be precise, this @code{\translator} entry switches the current voice to a @code{Staff} named @code{top}. So we have to name the upper staff `@code{top}'. Stem directions are set to avoid interfering with the oboe voices. @example c'8 \translator Staff = bottom \stemup @} @end example Then a note is put on the upper staff, and we switch again. We have to name the lower staff `@code{bottom}'. @example hoomPahHoomPah = @{ [\hoomPah \hoomPah] @} @end example Put two of these fragments in sequence, and beam them.@example bassvoices = \notes \relative c' @{ c4 g8. b,16 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah @end example Entering the bass part is easy: the hoomPahHoomPah variable is referenced four times.@example \context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} > @end example After skipping some lines, we see @code{~}. This mark makes ties.@example \context PianoStaff @end example For piano music, a special context is needed to get cross staff beaming right. It is called @code{PianoStaff}.@example \context Staff = bottom < \time 2/2; \clef bass; @end example The bottom staff must have a different clef.@example indent = 0.0; @end example To make some more room on the line, the first (in this case the only) line is not indented. The line still looks is very cramped, but that is due to the format of this tutorial. This example shows a lot of features, but the organisation isn't perfect. For example, it would be less confusing to use a chord containing sequential music than a sequence of chords for the oboe parts. [TODO: demonstrate Hara-Kiri with scores and part extraction.] @node end of tutorial, , , Tutorial @section The end That's all folks. From here, you can either try fiddling with input files, or you can read the reference manual. @node Reference Manual, , , Top @menu * Overview:: Overview * Top level:: Top level * notenames:: notenames * Lexical conventions:: Lexical conventions * notelang:: notelang * modes:: modes * Types:: Types * Music expressions:: Music expressions * Atomic music expressions:: Atomic music expressions * atomicmusic:: atomicmusic * notedesc:: notedesc * barlines:: barlines * manualbeam:: manualbeam * tremolo:: tremolo * Compound music expressions:: Compound music expressions * compoundmusic:: compoundmusic * relative:: relative * sec-repeats:: sec-repeats * transpose:: transpose * Ambiguities:: Ambiguities * Notation conversion specifics:: Notation conversion specifics * autobeam:: autobeam * lyricprint:: lyricprint * Notation Contexts:: Notation Contexts * contextselection:: contextselection * Notation output definitions:: Notation output definitions * output:: output * paper:: paper * papervars:: papervars * contextdefs:: contextdefs * engravers:: engravers * Sound output:: Sound output * midilist:: midilist * Pre-defined Identifiers:: Pre-defined Identifiers * Running LilyPond:: Running LilyPond @end menu @chapter Reference Manual @node Overview, , , Reference Manual @section Overview This document@footnote{This document has been revised for LilyPond 1.2.} describes the the GNU LilyPond input format, which is a language for defining music. We call this language @emph{Music Definition Language} or @emph{Mudela}, for short.@footnote{If anybody comes up with a better name, we'd gladly take this. Gourlay already uses a ``Musical Description Language,'' ISO standard 10743 defines a ``Standard Music Description Language.'' We're not being original here.} @emph{Mudela} is a language that allows you to @itemize @bullet @item create musical expressions by combining pitches, durations @item output those musical expressions to various formats @item give those musical expressions and output definitions names, so you can enter them in manageable chunks. @end itemize @emph{Mudela} aims to define a piece of music completely, both from typesetting and from a performance point of view. @node Top level, , , Reference Manual @section Top level @cindex top level This section describes what you may enter at top level. @cindex score definition The output is generated combining a music expression with an output definition. A score block has the following syntax: @example \score @{ @var{musicexpr} @var{outputdefs} @} @end example @var{outputdefs} are zero or more output definitions. If no output definition is supplied, the default @code{\paper} block will be added. @cindex header @keyindex{header} The syntax is @example \header @{ @var{key1} = @var{val1}; @var{key2} = @var{val2}; @dots{} @} @end example A header describes the file's contents. It can also appear in a @code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this information for generating titles. Key values that are used by @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument, metre, arranger, piece and tagline. It is customary to put the @code{\header} at the top of the file. @node notenames, , , Reference Manual Note name tables can be specified using @example \notenames@keyindex{notenames} @{ @var{assignmentlist} @} @end example @var{assignmentlist} is a list of definitions of the form @example @var{name} = @var{pitch} @end example Chord modifiers can be set analogously, with @code{\chordmodifiers}@keyindex{chordmodifiers}. A @code{\paper} block at top level sets the default paper block. A @code{\midi} block at top level works similarly. LilyPond contains a Scheme interpreter (the GUILE library) for internal use. The following commands access the interpreter directly. @example \scm @keyindex{scm} @var{scheme} ; @end example Evaluates the specified Scheme code. The result is discarded. @example \scmfile@keyindex{scmfile} @var{filename}; @end example Reads Scheme code from the specified file. The result is discarded. Identifier assignments may appear at top level. Semicolons are forbidden after top level assignments. @node Lexical conventions, , , Reference Manual @section Lexical conventions @cindex lexical conventions @cindex comment @indexcode{%} A one line comment is introduced by a `@code{%}' character. Block comments are started by `@code{%@{}' and ended by `@code{%@}}'. They cannot be nested. @cindex keyword Keywords start with a backslash, followed by a number of lower case alphabetic characters. These are all the keywords. @example \accepts \addlyrics \alternative \bar \breathe \cadenza \chordmodifiers \chords \clef \cm \consists \consistsend \context \duration \font \grace \header \in \key \keysignature \lyrics \mark \midi \mm \musicalpitch \name \notenames \notes \paper \partial \penalty \property \pt \relative \remove \repeat \repetitions \scm \scmfile \score \script \sequential \shape \simultaneous \skip \spanrequest \tempo \textscript \time \times \translator \transpose \type @end example @cindex integer Formed from an optional minus sign followed by digits. Arithmetic operations cannot be done with integers, and integers cannot be mixed with reals. @cindex real Formed from an optional minus sign and a sequence of digits followed by a @emph{required} decimal point and an optional exponent such as @code{-1.2e3}. Reals can be built up using the usual operations: `@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and `@code{/}@indexcode{/}', with parentheses for grouping. A real constant can be followed by one of the dimension keywords: @cindex dimensions @code{\mm}@keyindex{mm}, @code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or @code{\cm}@keyindex{cm}, for millimeters, points, inches and centimeters, respectively. This converts the number to a real that is the internal representation of dimensions. @cindex string Begins and ends with the `@code{"}' character. To include a `@code{"}' character in a string write `@code{\"}'. Various other backslash sequences have special interpretations as in the C language. A string that contains no spaces can be written without the quotes. See section XREF-modes [FIXME] for details on unquoted strings; their interpretation varies depending on the situation. Strings can be concatenated with the `@code{+}' operator. The tokenizer accepts the following commands. They can appear anywhere. @example \maininput@keyindex{maininput} @end example This command is used in init files to signal that the user file must be read. This command cannot be used in a user file. @example \include@keyindex{include} @var{file} @end example Include @var{file}. The argument @var{file} may be a quoted string (an unquoted string will not work here!) or a string identifier. The full filename including the @file{.ly} extension must be given, @example \version@keyindex{version} @var{string} ; @end example Specify the version of LilyPond that a file was written for. The argument is a version string in quotes, for example @code{"1.2.0"}. This is used to detect invalid input, and to aid @code{convert-mudela}, a tool that automatically upgrades input files. @cindex other languages @node notelang, , , Reference Manual Note name definitions have been provided in various languages. Simply include the language specific init file. For example: `@code{\include "english.ly"}'. The available language files and the names they define are: @quotation @example Note Names sharp flat nederlands.ly c d e f g a bes b -is -es english.ly c d e f g a bf b -s/-sharp -f/-flat deutsch.ly c d e f g a b h -is -es norsk.ly c d e f g a b h -iss/-is -ess/-es svenska.ly c d e f g a b h -iss -ess italiano.ly do re mi fa sol la sid si -d -b catalan.ly do re mi fa sol la sid si -d/-s -b @end example @end quotation Pitch names can be redefined using the @code{\notenames}@keyindex{notenames} command, see subsection XREF-notenames [FIXME]. @cindex lexical modes @cindex modes @node modes, , , Reference Manual To simplify entering notes, lyrics, and chords, @emph{Mudela} has three special input modes on top of the default mode. In each mode, words are identified on the input. If @code{"word"} is encountered, it is treated as a string. If @code{\word} is encountered, it is treated as a keyword or as an identifier. The behavior of the modes differs in two ways: Different modes treat unquoted words differently, and different modes have different rules for deciding what is a word. @table @samp @item Normal mode. @cindex mode!normal At the start of parsing, @emph{Mudela} is in Normal mode. In Normal mode, a word is an alphabetic character followed by alphanumeric characters. If @code{word} is encountered on the input it is treated as a string. @item Note mode. @cindex mode!note Note mode is introduced by the keyword @code{\notes}@keyindex{notes}. In Note mode, words can only contain alphabetic characters. If @code{word} is encountered, LilyPond first checks for a notename of @code{word}. If no notename is found, then @code{word} is treated as a string. Since combinations of numbers and dots are used for indicating durations, it is not possible to enter real numbers in this mode. @item Chord mode. @cindex mode!chord Chord mode is introduced by the keyword @code{\chords}@keyindex{chords}. It is similar to Note mode, but words are also looked up in a chord modifier table (containing @code{maj}, @code{dim}, etc). Since combinations of numbers and dots are used for indicating durations, you can not enter real numbers in this mode. Dashes and carets are used to indicate chord additions and subtractions, so scripts can not be entered in Chord mode. @item Lyrics mode. @cindex mode!lyric Lyrics mode is introduced by the keyword @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it easy to include punctuation and diacritical marks in words. A word in Lyrics mode begins with: an alphabetic character, `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the control characters @code{^A} through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code over 127, or a two-character combination of a backslash followed by one of `@code{`}', `@code{'}', `@code{"}', or `@code{^}'.@footnote{The purpose of Lyrics mode is that you can enter lyrics in TeX format or a standard encoding without needing quotes. The precise definition of this mode indeed is ludicrous. This will remain so until the authors of LilyPond acquire a deeper understanding of character encoding, or someone else steps up to fix this.} Subsequent characters of a word can be any character that is not a digit and not white space. One important consequence of this is that a word can end with `@code{@}}', which may be confusing if you thought the closing brace was going to terminate Lyrics mode.@footnote{LilyPond will issue a warning, though.} Any `@code{_}' characters which appear in an unquoted word are converted to spaces. This provides a mechanism for introducing spaces into words without using quotes. Quoted words can also be used in Lyrics mode to specify words that cannot be written with the above rules. Here are some examples. Not all of these words are printable by TeX. @quotation @example Ah! % a word 2B_||_!2B % not a word because it starts with a digit ``Hello'' % not a word because it starts with ` _ _ _ _ % 4 words, each one a space @end example @end quotation Since combinations of numbers and dots are used for indicating durations, you can not enter real numbers in this mode. @end table It is possible to create words that break the rules by prefixing them with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a word beginning with `@code{$}' extends until the next white space character. Such words can contain numbers (even in Note mode), or other forbidden characters. The dollar sign can be used to create and access identifiers that could not otherwise be used.@footnote{Use of `@code{$}' hampers readability and portability to future LilyPond versions, thus the use of the dollar sign is discouraged.} @node Types, , , Reference Manual @section Types @cindex types and identifiers @emph{Mudela} has a limited set of types: @itemize @bullet @item integers @item reals @item strings @item music expressions @item durations of notes and rests (specified with @code{\notenames}@keyindex{notenames}) @item note name tables @item context definitions, part of output definitions. See section XREF-contextdefs [FIXME] for more information @item output definitions (like @code{\paper}@keyindex{paper} blocks and @code{\midi}@keyindex{midi} blocks) @item score definitions (@code{\score}@keyindex{score} blocks) @end itemize Type is a syntactical property: @emph{Mudela} has no real type system, so there is no support for generic expressions, functions, or user defined types. For the same reason, it is not possible to mix reals and integers in arithmetic expressions, and ``type errors'' @cindex type error (e.g., using a string identifier to initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse error''. Identifiers allow objects to be assigned to names. To assign an identifier, you use `@var{name}=@var{value}' and to refer to an identifier, you preceed its name with a backslash: `@code{\}@var{name}'. Identifier assignments must appear at top level in the @emph{Mudela} file. Semicolons are forbidden after assignments appearing at top level but they are obligatory after assignments appearing in the @code{\paper} block, see Section XREF-paper [FIXME]. @var{value} is any of the types listed above. An identifier can be created with any string for its name, but you will only be able to refer to identifiers whose names begin with a letter, being entirely alphanumeric. It is impossible to refer to an identifier whose name is the same as the name of a keyword. The right hand side of an identifier assignment is parsed completely before the assignment is done, so it is allowed to redefine an identifier in terms of its old value, e.g. @example foo = \foo * 2.0 @end example When an identifier is referenced, the information it points to is copied. Therefore it only makes sense to put identifiers for translators, output definitions, and @code{\score}@keyindex{score} blocks as the first item in a block. For this reason, if you reference a @code{\foo} variable in a @code{\foo} block, it must be the first item in the list following @code{\foo}.@footnote{@code{\paper@{\one \two@}} does not make sense, because the information of @code{\two} would overwrite the information of @code{\one}, thereby making the reference to the first identifier useless.} @node Music expressions, , , Reference Manual @section Music expressions @cindex music expressions Music in @emph{Mudela} is entered as a music expression. Notes, rests, lyric syllables are music expressions (the atomic expressions) @cindex atomic music expressions , and you can combine music expressions to form new ones. This example forms a compound expressions out of the quarter @code{c} note and a @code{d} note: @example \sequential @{ c4 d4 @} @end example The meaning of this compound expression is to play the `@code{c}' first, and then the `@code{d}' (as opposed to playing them simultaneously, for instance). Atomic music expression are discussed in subsection XREF-atomicmusic [FIXME]. Compound music expressions are discussed in subsection XREF-compoundmusic [FIXME]. @node Atomic music expressions, , , Reference Manual @section Atomic music expressions @node atomicmusic, , , Reference Manual @cindex pitch @cindex duration The syntax for pitch specification is @example \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @} @end example @var{octave} is specified by an integer, zero for the octave containing middle C. @var{note} is a number from 0 to 7, with 0 corresponding to C and 7 corresponding to B. The shift is zero for a natural, negative to add flats, or positive to add sharps. In Note and Chord mode, pitches may be designated by names. See section XREF-notelang [FIXME] for pitch names in different languages. The syntax for duration specification is @example \duration@keyindex{duration} @{ @var{length} @var{dotcount} @} @end example @var{length} is the negative logarithm (base 2) of the duration: 1 is a half note, 2 is a quarter note, 3 is an eighth note, etc. The number of dots after the note is given by @var{dotcount}. In Note, Chord, and Lyrics mode, durations may be designated by numbers and dots. See Section XREF-notelang [FIXME] for details. @node notedesc, , , Reference Manual @cindex note specification @cindex pitches @cindex entering notes A note specification has the form @example @var{pitch}[@var{octavespec}][!][?][@var{duration}] @end example The pitch of the note is specified by the note's name. The default names are the Dutch note names. The notes are specified by the letters `@code{c}' through `@code{b}', where `@code{c}' is an octave below middle C and the letters span the octave above that C. In Dutchcindex(notenames!Dutch), a sharp is formed by adding `@code{-is}' to the end of a pitch name. A flat is formed by adding `@code{-es}'. Double sharps and double flats are obtained by adding `@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will be accepted. LilyPond has predefined sets of notenames for various languages. See section XREF-notelang [FIXME] for details. The optional octave specification takes the form of a series of single quote (`@code{'}@indexcode{'}') characters or a series of comma (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one octave; each @code{,} lowers the pitch by an octave. @mudela[fragment,verbatim,center] c' d' e' f' g' a' b' c'' @end mudela @mudela[fragment,verbatim,center] cis' dis' eis' fis' gis' ais' bis' @end mudela @mudela[fragment,verbatim,center] ces' des' es' fes' ges' as' bes' @end mudela @mudela[fragment,verbatim,center] cisis' eisis' gisis' aisis' beses' @end mudela @mudela[fragment,verbatim,center] ceses' eses' geses' ases' beses' @end mudela Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond will determine what accidentals to typeset depending on the key and context. A reminder accidental @cindex reminder accidental can be forced by adding an exclamation mark `@code{!}' after the pitch. A cautionary accidental, @cindex cautionary accidental i.e., an accidental within parentheses can be obtained by adding the question mark `@code{?}@indexcode{?}' after the pitch. @mudela[fragment,verbatim,center] cis' d' e' cis' c'? d' e' c'! @end mudela @cindex duration Durations are entered as their reciprocal values. For notes longer than a whole note, use identifiers. @quotation @example c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 @end example @end quotation @quotation @mudela[] \score { \notes \relative c'' { a\longa a\breve a1 a2 a4 a8 a16 a32 a64 a64 } \paper { loose_column_distance = 2.5 * \interline; linewidth = -1.0; \translator { \type "Score_engraver"; \name "Score"; \consists "Note_heads_engraver"; \consists "Stem_engraver"; \consists "Rhythmic_column_engraver"; } } } @end mudela @end quotation @quotation @example r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example @end quotation @quotation @mudela[] \score { \notes \relative c'' { r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 } \paper { loose_column_distance = 2.5 * \interline; linewidth = -1.0; \translator { \type "Score_engraver"; \name "Score"; \consists "Rest_engraver"; \consists "Stem_engraver"; \consists "Rhythmic_column_engraver"; } } } @end mudela @end quotation If the duration is omitted then it is set equal to the previous duration. If there is no previous duration, a quarter note is assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}') to obtain dotted note lengths. @mudela[fragment,verbatim,center] a'4. b'4. @end mudela You can alter the length of duration by writing `@code{*}@var{fraction}' after it. This will not affect the appearance of note heads or rests. Rests are entered like notes, with note name `@code{r}@indexcode{r}', or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}', which produces a space of the specified duration. `@code{R}' is specifically meant for entering parts: the @code{R} rest can expand to fill a score with rests, or it can be printed as a single multimeasure rest. @cindex lyrics expressions Syllables are entered like notes, with pitches replaced by text. For example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each with quarter note duration. Note that the hyphen has no special meaning for lyrics, and does not introduce special symbols. See section XREF-modes [FIXME] for a description of what is interpreted as lyrics. Spaces can be introduced into a lyric either by using quotes (`@code{"}') or by using an underscore without quotes: `@code{He_could4 not4}'. All unquoted underscores are converted to spaces. Printing lyrics is discussed in section XREF-lyricprint [FIXME]. @cindex properties @example \property@keyindex{property} @var{contextname}.@var{propname} = @var{value} @end example Sets the @var{propname} property of the context @var{contextname} to the specified @var{value}. All three arguments are strings. Depending on the context, it may be necessary to quote the strings or to leave space on both sides of the dot. @cindex translator switches @example \translator@keyindex{translator} @var{contexttype} = @var{name} @end example A music expression indicating that the context which is a direct child of the a context of type @var{contexttype} should be shifted to a context of type @var{contexttype} and the specified name. Usually this is used to switch staffs in Piano music, e.g. @example \translator Staff = top @var{Music} @end example @cindex commands Commands are music expressions that have no duration. @example @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;} @end example Change the key signature. @var{type} should be @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get @var{pitch}-major or @var{pitch}-minor, respectively. The second argument is optional; the default is major keys. The @var{\context} argument can also be given as an integer, which tells the number of semitones that should be added to the pitch given in the subsequent @code{\key}@keyindex{key} commands to get the corresponding major key, e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard mode names @code{\ionian}@keyindex{ionian}, @code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian}, @code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian}, @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian} are also defined. @example @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;} @end example Specify an arbitrary key signature. The pitches from @var{pitch} will be printed in the key signature in the order that they appear on the list. @example \mark@keyindex{mark} @var{unsigned}; \mark @var{string}; @end example Prints a mark over or under (depending on the @code{markDirection}@indexcode{markDirection} property) the staff. You must add @code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for this to work. @node barlines, , , Reference Manual @example \bar@keyindex{bar} @var{bartype}; @end example This is a request to print a special bar symbol. It replaces the regular bar symbol with a special symbol. The argument @var{bartype} is a string which specifies the kind of bar to print. Options are @code{":|"} @cindex "|A@@@code{:|} , @code{"|:"} @cindex "|B@@@code{|:} , @code{":|:"} @cindex "|C@@@code{:|:} , @code{"||"} @cindex "|D@@@code{||} , @code{"|."} @cindex "|E@@@code{|.} , @code{".|"} @cindex "|F@@@code{.|} , and @code{".|."} @cindex "|G@@@code{.|.} . These produce, respectively, a right repeat, a left repeat, a double repeat, a double bar, a start bar, an end bar, and a thick double bar. If @var{bartype} is set to @code{"empty"} then nothing is printed, but a line break is allowed at that spot. You are encouraged to use @code{\repeat} for repetitions. See section XREF-sec-repeats [FIXME]. @example \cadenza@keyindex{cadenza} @var{togglevalue} @code{;} @end example Music expression that toggles the automatic generation of bar lines. If @var{togglevalue} is 1, bar line generation is turned off. If @var{togglevalue} is 0, a bar line is immediately printed and automatic bar generation is turned on. @example \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;} @end example Change the time signature. The default time signature is 4/4. The time signature is used to generate bar lines. @example \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;} @end example Used to specify the tempo. For example, `@code{\tempo 4 = 76;}' requests output with 76 quarter notes per minute. @example \partial@keyindex{partial} @var{duration} @code{;} @end example @cindex anacrusis @cindex upstep This creates an incomplete measure (anacrusis, upbeat) at the start of the music, e.g., `@code{\partial 8*2;}' creates a starting measure lasting two eighth notes. @example @code{|}@indexcode{|} @cindex bar check @end example @cindex shorten measures @cindex upstep `@code{|}' is a barcheck. Whenever a barcheck is encountered during interpretation, a warning message is issued if it doesn't fall at a measure boundary. This can help you finding errors in the input. The beginning of the measure will be relocated, so this can also be used to shorten measures. @example \penalty@keyindex{penalty} @var{int} @code{;} @end example Discourage or encourage line breaks. See identifiers @code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in section [on identifiers] [FIXME]. @example \clef@keyindex{clef} @var{clefname} @code{;} @end example Music expression that sets the current clef. The argument is a string which specifies the name of the clef. Several clef names are supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef name, then the clef lowered or raised an octave will be generated. Here are the supported clef names with middle C shown in each clef: @quotation @mudela[] \score { \notes { \cadenza 1; %\property Voice.textStyle = typewriter \clef subbass; c'4-"\kern -5mm subbass" \clef bass; c'4^"\kern -2mm bass" \clef baritone; c'4_"\kern -5mm baritone" \clef varbaritone; c'4^"\kern -6mm varbaritone" \clef tenor; c'4_"\kern -3mm tenor" \clef "G_8"; c'4^"\kern -2mm G\\_8" } \paper { linewidth = 4.5 \in; } } @end mudela @end quotation @quotation @mudela[] \score { \notes { \cadenza 1; \clef alto; c'4_"\kern -2mm alto" \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano" \clef soprano; c'4_"\kern -6mm soprano" \clef treble; c'4^"\kern -4mm treble" \clef french; c'4_"\kern -4mm french" } \paper { linewidth = 4.5 \in; } } @end mudela @end quotation The three clef symbols can also be obtained using the names `@code{G}', `@code{C}' or `@code{F}', optionally followed by an integer which indicates at which note line the clef is located. An as example, the @code{mezzosoprano} clef can also be given as `@code{C2}'. @example \skip@keyindex{skip} @var{duration} @code{;} @end example Skips the amount of time specified by @var{duration}. If no other music is played, a gap will be left for the skipped time with no notes printed. It works in Note Mode or Lyrics Mode. In Note mode, this has the same effect as the space rest `@code{s}'. @cindex beams @node manualbeam, , , Reference Manual A beam is specified by surrounding the beamed notes with brackets `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'. @mudela[fragment,verbatim,center] [a'8 a'] [a'16 a' a' a'] @end mudela Some more elaborate constructions: @mudela[fragment,verbatim,center] [a'16 c'' ] \times 2/3 { [e'8 f' g'] } @end mudela Beaming can be generated automatically; see section XREF-autobeam [FIXME]. To place tremolo marks @cindex tremolo beams between two notes, begin with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks will appear instead of beams. Putting more than two notes in such a construction will produce odd effects. To create tremolo beams on a single note, simply attach `@code{:}@var{length}' to the note itself (see also section XREF-tremolo [FIXME]). @mudela[fragment,verbatim,center] [:16 e'1 g'] [:8 e'4 f'] @end mudela @mudela[fragment,verbatim,center] c'4:32 [:16 c'8 d'8] @end mudela @cindex --@@@code{-}@code{-} @indexcode{__} @cindex extender @cindex hyphen The syntax for an extender mark is `@code{__}'. This syntax can only be used within lyrics mode. The syntax for a spanning hyphen (i.e., a hyphen that will be printed between two lyric syllables) is `@code{-}@code{-}'. @cindex ties A tie connects two adjacent note heads of the same pitch. When used with chords, it connects all of the note heads whose pitches match. Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'. If you try to tie together chords which have no common pitches, a warning message will appear and no ties will be created. @mudela[fragment,verbatim,center] e' ~ e' ~ @end mudela [TODO: explain Requests] @cindex articulations @cindex scripts @cindex ornaments A variety of symbols can appear above and below notes to indicate different characteristics of the performance. These symbols can be added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols are defined in @file{script.ly} and @file{script.scm}. Symbols can be forced to appear above or below the note by writing `@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing symbols above notes, with the name of the corresponding symbol appearing underneath. @mudela[] \score { < \notes { c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata c''-\stopped c''-\staccato c''-\tenuto c''-\upbow c''-\downbow c''^\lheel c''-\rheel c''^\ltoe c''-\rtoe c''-\turn c''-\open c''-\flageolet c''-\reverseturn c''-\trill c''-\prall c''-\mordent c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall c''-\thumb c''-\segno c''-\coda } \context Lyrics \lyrics { accent__ marcato__ staccatissimo__ fermata stopped__ staccato__ tenuto__ upbow downbow__ lheel__ rheel__ ltoe rtoe__ turn__ open__ flageolet reverseturn__ trill__ prall__ mordent prallprall__ prallmordent__ uprall__ downprall thumb__ segno__ coda } > \paper { linewidth = 5.875\in; indent = 0.0; } } @end mudela In addition, it is possible to place arbitrary strings of text or TeX above or below notes by using a string instead of an identifier: `@code{c^"text"}'. Fingerings @cindex fingering can be placed by simply using digits. All of these note ornaments appear in the printed output but have no effect on the MIDI rendering of the music. To save typing, fingering instructions (digits 0 to 9 are supported) and single characters shorthands exist for a few common symbols @mudela[] \score { \notes { \property Voice.textStyle = typewriter c''4-._"c-." s4 c''4--_"c-{}-" s4 c''4-+_"c-+" s4 c''4-|_"c-|" s4 c''4->_"c->" s4 c''4-^_"c-\\^{ }" s4 c''4-1_"c-1" s4 c''4-2_"c-2" s4 c''4-3_"c-3" s4 c''4-4_"c-4" s4 } \paper { linewidth = 5.875 \in; indent = 0.0; } } @end mudela Dynamic marks are specified by using an identifier after a note: `@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'. The available dynamic marks are: @code{\ppp}@keyindex{ppp}, @code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp}, @code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff}, @code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff}, @code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf}, @code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp}, @code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and @code{\rfz}@keyindex{rfz}. @example \textscript@keyindex{textscript} @var{text} @var{style} @end example Defines a text to be printed over or under a note. @var{style} is a string that may be one of @code{roman}, @code{italic}, @code{typewriter}, @code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}. You can attach a general textscript request using this syntax: @quotation @example c4-\textscript "6" "finger" c4-\textscript "foo" "normal" @end example @end quotation This is equivalent to `@code{c4-6 c4-"foo"}'. @cindex scripts @example \script@keyindex{script} @var{alias} @end example Prints a symbol above or below a note. The argument is a string which points into the script-alias table defined in @file{script.scm}. The scheme definitions specify whether the symbol follows notes into the staff, dependence of symbol placement on staff direction, and a priority for placing several symbols over one note. Usually the @code{\script}@keyindex{script} keyword is not used directly. Various helpful identifier definitions appear in @file{script.ly}. @cindex slur Slurs connects chords and try to avoid crossing stems. A slur is started with `@code{(}' and stopped with `@code{)}'. The starting `@code{(}' appears to the right of the first note in the slur. The terminal `@code{)}' appears to the left of the first note in the slur. This makes it possible to put a note in slurs from both sides: @mudela[fragment,verbatim,center] f'()g'()a' [a'8 b'(] a'4 g'2 )f'4 @end mudela @cindex crescendo A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated with @code{\rc}@keyindex{rc}. A decrescendo mark is started with @code{\decr}@keyindex{decr} and terminated with @code{\rced}@keyindex{rced}. There are also shorthands for these marks. A crescendo can be started with @code{\<}@keyindex{<} and a decrescendo can be started with @code{\>}@keyindex{>}. Either one can be terminated with @code{\!}@keyindex{"!}. Note that @code{\!} must go before the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go after the last note. Because these marks are bound to notes, if you want to get several marks during one note, you must use spacer notes. @mudela[fragment,verbatim,center] c'' \< \! c'' d'' \decr e'' \rced < f''1 { s4 \< \! s2 \> \! s4 } > @end mudela @example \spanrequest@keyindex{spanrequest} @var{startstop} @var{type} @end example Define a spanning request. The @var{startstop} parameter is either -1 (@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and @var{type} is a string that describes what should be started. Supported types are @code{crescendo}, @code{decrescendo}, @code{beam}, @code{slur}. This is an internal command. Users should use the shorthands which are defined in the initialization file @file{spanners.ly}. You can attach a (general) span request to a note using @mudela[fragment,verbatim,center] c'4-\spanrequest \start "slur" c'4-\spanrequest \stop "slur" @end mudela The slur syntax with parentheses is a shorthand for this. @cindex tremolo marks @node tremolo, , , Reference Manual Tremolo marks can be printed on a single note by adding `@code{:}[@var{length}]' after the note. The length must be at least 8. A @var{length} value of 8 gives one line across the note stem. If the length is omitted, then the last value is used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was no last value. @mudela[verbatim,fragment,center] c'2:8 c':32 @end mudela @node Compound music expressions, , , Reference Manual @section Compound music expressions @cindex compound music expressions @node compoundmusic, , , Reference Manual Music expressions are compound data structures. You can nest music expressions any way you like. This simple example shows how three chords can be expressed in two different ways: @mudela[fragment,verbatim,center] \notes \context Staff { \cadenza 1; <{a b c'}{c' d' e'}> } @end mudela @cindex context selection @example \context@keyindex{context} @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr} @end example Interpret @var{musicexpr} within a context of type @var{contexttype}. If the context does not exist, it will be created. The new context can optionally be given a name. See section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more information on interpretation contexts. @cindex input modes @cindex mode switch Mode switching keywords form compound music expressions: @code{\notes} @keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords} @var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}. These expressions do not add anything to the meaning of their arguments. They are just a way to indicate that the arguments should be parsed in indicated mode. See section XREF-modes [FIXME] for more information on modes. More information on context selection can be found in section XREF-contextselection [FIXME]. @cindex sequential music @example \sequential@keyindex{sequential} @code{@{} @var{musicexprlist} @code{@}} @end example This means that list should be played or written in sequence, i.e., the second after the first, the third after the second. The duration of sequential music is the the sum of the durations of the elements. There is a shorthand, which leaves out the keyword: @example @code{@{} @var{musicexprlist} @code{@}} @end example @cindex simultaneous music @indexcode{<} @indexcode{>} @example \simultaneous@keyindex{simultaneous} @code{@{} @var{musicexprlist} @code{@}} @end example It constructs a music expression where all of its arguments start at the same moment. The duration is the maximum of the durations of the elements. The following shorthand is a common idiom: @example @code{<} @var{musicexprlist} @code{>} @end example If you try to use a chord as the first thing in your score, you might get multiple staffs instead of a chord. @mudela[verbatim,center] \score { \notes \paper { linewidth = -1.; } } @end mudela This happens because the chord is interpreted by a score context. Each time a note is encountered a default Voice context (along with a Staff context) is created. The solution is to explicitly instantiate a Voice context: @mudela[verbatim,center] \score { \notes\context Voice \paper { linewidth = -1.; } } @end mudela @cindex relative pitch specification @node relative, , , Reference Manual It is easy to get confused by octave changing marks and accidentally putting a pitch in the wrong octave. A much better way of entering a note's octave is `the relative octave' mode. @example \relative@keyindex{relative} @var{startpitch} @var{musicexpr} @end example The octave of notes that appear in @var{musicexpr} are calculated as follows: If no octave changing marks are used, the basic interval between this and the last note is always taken to be a fourth or less.@footnote{The interval is determined without regarding accidentals. A @code{fisis} following a @code{ceses} will be put above the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}' can then be added to raise or lower the pitch by an extra octave. Upon entering relative mode, an absolute starting pitch must be specified that will act as the predecessor of the first note of @var{musicexpr}. Entering scales is straightforward in relative mode. @mudela[fragment,verbatim,center] \relative c' { c d e f g a b c c, } @end mudela And octave changing marks are used for intervals greater than a fourth. @mudela[fragment,verbatim,center] \relative c'' { c g c f, c' a, e'' } @end mudela If the preceding item is a chord, the first note of the chord is used to determine the first note of the next chord. But other notes within the second chord are determined by looking at the immediately preceding note. @mudela[fragment,verbatim,center] \relative c' { c } @end mudela The pitch after the @code{\relative} contains a notename. To parse the pitch as a notename, you have to be in note mode, so there must be a surrounding @code{\notes}@keyindex{notes} keyword (which is not shown here). The relative conversion will not affect @code{\transpose} or @code{\relative} sections in its argument. If you want to use relative within transposed music, you must place an additional @code{\relative} inside the @code{\transpose}. It is strongly recommended to use relative pitch mode: less work, less error-prone, and more readable. Chord names are a way to generate simultaneous music expressions that correspond with traditional chord names. It can only be used in Chord mode (see section XREF-modes [FIXME]). @example @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}]. @end example @var{tonic} should be the tonic note of the chord, and @var{duration} is the chord duration in the usual notation. There are two kinds of modifiers. One type is @emph{chord additions}, which are obtained by listing intervals separated by dots. An interval is written by its number with an optional `@code{+}' or `@code{-}' to indicate raising or lowering by half a step. Chord additions has two effects: It adds the specified interval and all lower odd numbered intervals to the chord, and it may lower or raise the specified interval. Intervals must be separated by a dot (`@code{.}'). @quotation @mudela[fragment,verbatim] \transpose c'' { \chords { c1 c-3- c-7 c-8 c-9 c-9-.5+.7+ c-3-.5- c-4.6.8 } } @end mudela @end quotation The second type of modifier that may appear after the `@code{-}' is a named modifier. Named modifiers are listed in the file @file{chord-modifiers.ly}. The available modifiers are `@code{m}' and `@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th, `@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}' which replaces the 5th with a 4th. @quotation @mudela[fragment,verbatim] \transpose c'' { \chords { c1-m c-min7 c-maj c-aug c-dim c-sus } } @end mudela @end quotation Chord subtractions are used to eliminate notes from a chord. The notes to be subtracted are listed after a `@code{^}' character, separated by dots. @mudela[fragment,verbatim,center] \transpose c'' { \chords { c1^3 c-7^5.3 c-8^7 } } @end mudela Chord inversions can be specified by appending `@code{/}@indexcode{/}' and the name of a single note to a chord. This has the effect of lowering the specified note by an octave so it becomes the lowest note in the chord. If the specified note is not in the chord, a warning will be printed. @mudela[fragment,verbatim,center] \transpose c''' { \chords { c1 c/e c/g c-7/e } } @end mudela Throughout these examples, chords have been shifted around the staff using @code{\transpose}. You should not combine @code{\relative} with named chords. @cindex tuplets Tuplets are made out of a music expression by multiplying their duration with a fraction. @example \times@keyindex{times} @var{fraction} @var{musicexpr} @end example The duration of @var{musicexpr} will be multiplied by the fraction. In print, the fraction's denominator will be printed over the notes, optionally with a bracket. The most common tuplet is the triplet in which 3 notes have the length of 2, so the notes are 2/3 of their written length: @mudela[fragment,verbatim,center] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @end mudela @cindex grace notes @example \grace@keyindex{grace} @var{musicexpr} @end example A grace note expression has duration 0; the next real note is assumed to be the main note. You cannot have the grace note after the main note, in terms of duration, and main notes, but you can typeset the grace notes to the right of the main note using the property @code{graceAlignPosition}@indexcode{graceAlignPosition}. When grace music is interpreted, a score-within-a-score is set up: @var{musicexpr} has its own time bookkeeping, and you could (for example) have a separate time signature within grace notes. While in this score-within-a-score, you can create notes, beams, slurs, etc. Unbeamed eighth notes and shorter by default have a slash through the stem. This behavior can be controlled with the @code{stemStyle}@indexcode{stemStyle} property. @quotation @mudela[fragment,verbatim] \relative c'' { \grace c8 c4 \grace { [c16 c16] } c4 \grace { \property Grace.stemStyle = "" c16 } c4 } @end mudela @end quotation At present, nesting @code{\grace}@keyindex{grace} notes, e.g. @example @code{\grace @{ \grace c32 c16 @} c4} @end example may result in run-time errors of LilyPond. Since the meaning of such a construct is unclear, we don't consider this a loss. Similarly, juxtaposing two @code{\grace} sections is syntactically valid, but makes no sense and may cause runtime errors. Ending a staff or score with grace notes may also generate a run-time error, since there will be no main note to attach the grace notes to. @cindex repeats @node sec-repeats, , , Reference Manual In order to specify repeats, use the @code{\repeat}@keyindex{repeat} keyword. Since repeats look and sound differently when played or printed, there are a few different variants of repeats. @table @samp @item unfolded Repeated music is fully written (played) out. Useful for MIDI output. @item volta This is the normal notation: Repeats are not written out, but alternative endings (voltas) are printed, left to right. @item folded Alternative endings are written stacked, which is useful for lyrics. @end table The syntax for repeats is @example \repeat @var{variant} @var{repeatcount} @var{repeatbody} @end example If you have alternative endings, you may add @example \alternative@keyindex{alternative} @code{@{} @var{alternative1} @var{alternative2} @var{alternative3} @dots{} @code{@}} @end example where each @var{alternative} is a Music expression. Normal notation repeats are used like this: @quotation @mudela[fragment,verbatim] c'1 \repeat volta 2 { c'4 d' e' f' } \repeat volta 2 { f' e' d' c' } @end mudela @end quotation With alternative endings: @quotation @mudela[fragment,verbatim] c'1 \repeat volta 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end mudela @end quotation Folded repeats look like this:@footnote{Folded repeats offer little more over simultaneous music. However, it is to be expected that more functionality -- especially for the MIDI backend -- will be implemented.} @quotation @mudela[fragment,verbatim] c'1 \repeat fold 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end mudela @end quotation @quotation @mudela[fragment,verbatim] \context Staff { \relative c' { \partial 4; \repeat volta 2 { e | c2 d2 | e2 f2 | } \alternative { { g4 g g } { a | a a a a | b1 } } } } @end mudela @end quotation If you don't give enough alternatives for all of the repeats, then the first alternative is assumed to be repeated often enough to equal the specified number of repeats. @quotation @mudela[fragment,verbatim] \context Staff { \relative c' { \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | } \alternative { { g4 g g } {\partial 1; e4 e e } {\partial 1; a a a a | b1 } } } } @end mudela @end quotation It is possible to nest @code{\repeat}. This is not entirely supported: the notes will come be in the right places, but the repeat bars will not. @cindex transposition of pitches @node transpose, , , Reference Manual A music expression can be transposed with @code{\transpose}@keyindex{transpose}. The syntax is @example \transpose @var{pitch} @var{musicexpr} @end example This means that middle C in @var{musicexpr} is transposed to @var{pitch}. @code{\transpose} distinguishes between enharmonic pitches: both @code{\transpose cis'} or @code{\transpose des'} will transpose up half a tone. The first version will print sharps and the second version will print flats. @quotation @mudela[fragment,verbatim] \context Staff { \clef "F"; { \key e; c d e f } \clef "G"; \transpose des'' { \key e; c d e f } \transpose cis'' { \key e; c d e f } } @end mudela @end quotation If you want to use both @code{\transpose} and @code{\relative}, then you must use @code{\transpose} first. @code{\relative} will have no effect music that appears inside a @code{\transpose}. @cindex automatic lyric durations If you have lyrics that are set to a melody, you can import the rhythm of that melody into the lyrics using @code{\addlyrics}. @keyindex{addlyrics} The syntax for this is @example \addlyrics @var{musicexpr1 musicexpr2} @end example This means that both @var{musicexpr1} and @var{musicexpr2} are interpreted, but that every non-command atomic music expression (``every syllable'') in @var{musicexpr2} is interpreted using timing of @var{musicexpr1}. If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the context of @var{musicexpr1}, no lyrics will be put on slurred or tied notes. @quotation @mudela[verbatim,fragment] \addlyrics \transpose c'' { \property Voice.automaticMelismata = "1" c8 () cis d8. e16 f2 } \context Lyrics \lyrics { do4 re mi fa } @end mudela @end quotation You should use a single rhythm melody, and single rhythm lyrics (a constant duration is the obvious choice). If you do not, you will get undesired effects when using multiple stanzas: @quotation @mudela[verbatim,fragment] \addlyrics \transpose c'' { c8 () cis d8. e16 f2 } \context Lyrics \lyrics < { do4 re mi fa } { do8 re mi fa } > @end mudela @end quotation It is valid (but probably not very useful) to use notes instead of lyrics for @var{musicexpr2}. @node Ambiguities, , , Reference Manual @section Ambiguities @cindex ambiguities The grammar contains a number of ambiguities.@footnote{The authors hope to resolve them at a later time.} @itemize @bullet @item The assignment @example foo = bar @end example can be interpreted as making a string identifier @code{\foo} containing @code{"bar"}, or a music identifier @code{\foo} containing the syllable `bar'. @item The assignment @example foo = -6 @end example can be interpreted as making an integer identifier containing -6, or a Request identifier containing the fingering `6' (with neutral direction). @item If you do a nested repeat like @quotation @example \repeat @dots{} \repeat @dots{} \alternative @end example @end quotation then it is ambiguous to which @code{\repeat} the @code{\alternative} belongs. This is the classic if-then-else dilemma. It may be solved by using braces. @item (an as yet unidentified ambiguity :-) @end itemize @node Notation conversion specifics, , , Reference Manual @section Notation conversion specifics @cindex automatic beam generation @node autobeam, , , Reference Manual By default, LilyPond will generate beams automatically. This feature can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1. It can be overridden for specific cases by specifying explicit beams as described in section XREF-manualbeam [FIXME]. A large number of Voice properties are used to decide how to generate beams. Their default values appear in @file{auto-beam-settings.ly}. In general, beams can begin anywhere, but their ending location is significant. Beams can end on a beat, or at durations specified by the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every quarter note, for example, you could set @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams at every three eighth notes you would set it to `@code{"3/8"}'. The same syntax can be used to specify beam starting points using @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}. To allow different settings for different time signatures, these property names can start with `@code{time}@var{N}@code{_}@var{M}' to restrict the definition to `@var{N}@code{/}@var{M}' time. For example, to specify beams ending only for 6/8 time you would use the property @code{Voice.time6_8beamAutoEnd}. To allow different endings for notes of different durations, the duration can be tacked onto the end of the property. To specify beam endings for beams that contain 32nd notes, you would use @code{Voice.beamAutoEnd_32}. @cindex chord names @cindex chords @cindex printing!chord names For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames} and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered either using the notation described above, or directly using simultaneous music. @quotation @mudela[fragment,verbatim] < \context ChordNames { \chords{a b c} \notes{ } } \context Staff \notes { a b c' d' e' } > @end mudela @end quotation LilyPond examines chords specified as lists of notes to determine a name to give the chord. By default, LilyPond will not try to identify chord inversions: @mudela[fragment,verbatim,center] < \context ChordNameVoice \notes { } \context Thread \notes { } > @end mudela If you want inversions to be recognized, you must set the property @code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}: @mudela[fragment,verbatim,center] < \property Score.chordInversion = 1 \context ChordNameVoice \notes { } \context Thread \notes { } > @end mudela @cindex lyrics @cindex printing!lyrics @node lyricprint, , , Reference Manual Lyric syllables must be interpreted within a @code{Lyrics} context @cindex context!Lyrics for printing them. Here is a full example: @quotation @mudela[verbatim] \score { < \notes \transpose c'' { c d e c | c d e c | e f g2 | e4 f g2 \bar "|."; } \context Lyrics \lyrics { Va-4 der Ja- cob Va- der Ja- cob Slaapt gij nog?2 Slaapt4 gij nog?2 } > } @end mudela @end quotation You may want a continuous line after the syllables to show melismata. To achieve this effect, add a `@code{__}' lyric as a separate word after the lyric to be extended. This will create an extender, a line that extends over the entire duration of the lyric. This line will run all the way to the start of the next lyric, so you may want to shorten it by using a blank lyric (using `@code{_}'). @quotation @mudela[verbatim] \score { < \notes \relative c'' { a4 () b () c () d | c () d () b () a | c () d () b () a } \context Lyrics \lyrics { foo1 __ | bar2. __ _4 | baz1 __ } > } @end mudela @end quotation If you want to have hyphens centered between syllables (rather than attached to the end of the first syllable) you can use the special `@code{-}@code{-}' lyric as a separate word between syllables. This will result in a hyphen which length varies depending on the space between syllables, and which will be centered between the syllables. For example: @quotation @mudela[verbatim] \score { < \notes \transpose c'' { c d e c | c d e c | e f g2 | e4 f g2 \bar "|."; } \context Lyrics \lyrics { Va4 -- der Ja -- cob | Va -- der Ja -- cob | Slaapt gij nog?2 | Slaapt4 gij nog?2 } > } @end mudela @end quotation @node Notation Contexts, , , Reference Manual @section Notation Contexts @cindex notation contexts Notation contexts are objects that only exist during a run of LilyPond. During the interpretation phase of LilyPond, the Music expression contained in a @code{\score} block is interpreted in time order. This is the order in which humans read, play, and write music. A context is an object that holds the reading state of the expression; it contains information like @itemize @bullet @item What notes are playing at this point? @item What symbols will be printed at this point? @item In what style will they printed? @item What is the current key signature, time signature, point within the measure, etc.? @end itemize Contexts are grouped hierarchically: A @code{Voice} context is contained in a @code{Staff} context (because a staff can contain multiple voices at any point), a @code{Staff} context is contained in a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because these can all contain multiple staffs). Contexts associated with sheet music output are called @emph{notation contexts}, those for sound output are called playing contexts. Contexts are created either manually or automatically. Initially, the top level music expression is interpreted by the top level context (the @code{Score} context). When a atomic music expression (i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested set of contexts is created that can process these atomic expressions, as in this example: @example @example \score @{ \notes < c4 > @} @end example @end example The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score} context. When the note `@code{c4}' itself is interpreted, a set of contexts is needed that will accept notes. The default for this is a @code{Voice} context, contained in a @code{Staff} context. Creation of these contexts results in the staff being printed. @node contextselection, , , Reference Manual @cindex context You can also create contexts manually, and you probably have to do so if you want to typeset complicated multiple part material. If a `@code{\context} @var{name} @var{musicexpr}' expression is encountered during the interpretation phase, the @var{musicexpr} argument will be interpreted with a context of type @var{name}. If you specify a name, the specific context with that name is searched. If a context of the specified type and name can not be found, a new one is created. For example, @quotation @mudela[verbatim] \score { \notes \relative c'' { c4 f } } @end mudela @end quotation In this example, the @code{c} and @code{d} are printed on the default staff. For the @code{e}, a context Staff called `@code{another}' is specified; since that does not exist, a new context is created. Within @code{another}, a (default) Voice context is created for the @code{e4}. When all music referring to a context is finished, the context is ended as well. So after the third quarter, @code{another} is removed. Almost all music expressions inherit their interpretation context from their parent. In other words, suppose that the syntax for a music expression is @example \keyword @var{musicexpr1} @var{musicexpr2} @dots{} @end example When the interpretation of this music expression starts, the context for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total expression. Lastly, you may wonder, why this: @quotation @example \score @{ \notes \relative c'' @{ c4 d4 e4 @} @} @end example @end quotation doesn't result in this: @mudela[] \score { \notes \relative c'' { } } @end mudela For the @code{c4}, a default @code{Staff} (with a contained @code{Voice}) context is created. After the @code{c4} ends, no music refers to this default staff, so it would be ended, with the result shown. To prevent this inconvenient behavior, the context to which the sequential music refers is adjusted during the interpretation. So after the @code{c4} ends, the context of the sequential music is also the default @code{Voice} context. The @code{d4} gets interpreted in the same context as @code{c4}. These are the contexts supplied with the package. They are defined in the initialization file @file{ly/engraver.ly}. @table @samp @item @code{Grace}@indexcode{Grace} The context for handling grace notes. It is instantiated automatically when you use @code{\grace}. Basically, it is an `embedded' miniature of the Score context. Since this context needs special interaction with the rest of LilyPond, you should not explicitly instantiate it. @item @code{LyricVoice}@indexcode{LyricVoice} Corresponds to a voice with lyrics. Handles the printing of a single line of lyrics. @item @code{Thread}@indexcode{Thread} Handles note heads, and is contained in the Voice context. You have to instantiate this explicitly if you want to adjust the style of individual note heads. @item @code{Voice}@indexcode{Voice} Corresponds to a voice on a staff. This context handles the conversion of dynamic signs, stems, beams, super- and subscripts, slurs, ties, and rests. You have to instantiate this explicitly if you want to have multiple voices on the same staff. @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} A voice with chord names. Handles printing of a line of chord names. @item @code{ChordNames}@indexcode{ChordNames} Typesets chord names. Can contain @code{ChordNamesVoice} contexts. @item @code{Lyrics}@indexcode{Lyrics} Typesets lyrics. It can contain @code{LyricVoice} contexts. @item @code{Staff}@indexcode{Staff} Handles clefs, bar lines, keys, accidentals. It can contain @code{Voice} contexts. @item @code{RhythmicStaff}@indexcode{RhythmicStaff} A context like @code{Staff} but for printing rhythms. Pitches are ignored; the notes are printed on one line. It can contain @code{Voice} contexts. @item @code{GrandStaff}@indexcode{GrandStaff} Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a brace on the left side, grouping the staffs together. The bar lines of the contained staffs are connected vertically. It can contain @code{Staff} contexts. @item @code{PianoStaff}@indexcode{PianoStaff} Just like @code{GrandStaff} but with @code{minVerticalAlign} set equal to @code{maxVerticalAlign} so that interstaff beaming and slurring can be used. @item @code{StaffGroup}@indexcode{StaffGroup} Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a bracket on the left side, grouping the staffs together. The bar lines of the contained staffs are connected vertically. It can contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or @code{Lyrics} contexts. @item @code{ChoirStaff}@indexcode{ChoirStaff} Identical to @code{StaffGroup} except that the contained staffs are not connected vertically. @item @code{Score}@indexcode{Score} This is the top level notation context. No other context can contain a @code{Score} context. This context handles the administration of time signatures. It also makes sure that items such as clefs, time signatures, and key-signatures are aligned across staffs. It can contain @code{Lyrics}, @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and @code{ChoirStaff} contexts. You cannot explicitly instantiate a Score context (since it is not contained in any other context). It is instantiated automatically when an output definition (a @code{\score} or @code{\paper} block) is processed. @end table Properties that are set in one context are inherited by all of the contained contexts. This means that a property valid for the @code{Voice} context can be set in the @code{Score} context (for example) and thus take effect in all @code{Voice} contexts. Properties can be preset within the @code{\translator} block corresponding to the appropriate context. In this case, the syntax is @example @var{propname} @code{=} @var{value} @end example This assignment happens before interpretation starts, so a @code{\property} expression will override any predefined settings. The @code{\property} expression will create any property you specify. There is no guarantee that a property will be used. So if you spell a property name wrong, there will be no error message. The property settings are used during the interpretation phase. They are read by the LilyPond modules where interpretation contexts are built of. These modules are called @emph{translators}. Translators for notation are called @emph{engravers}, and translators for sound are called @emph{performers}. The precise result of a property is determined by the implementation of the translator that reads them. Therefore, the result of a property can vary, since it is implementation and configuration dependent. In order to fully find out what properties are used, you must currently search the source code for calls to @code{get_property}. The rest of the section is devoted to an (incomplete) overview of available properties. @cindex properties!Lyrics @table @samp @item @code{textStyle}@indexcode{textStyle} Set the font for lyrics. The available font choices are @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large}, @code{typewriter}, and @code{finger}. The @code{finger} font can only display numbers. Note also that you must be careful when using @code{\property} in Lyrics mode, because of the way strings are parsed. Either put quotes around the arguments to @code{\property} or be sure to leave a space on both sides of the dot. @end table @cindex properties!Thread @table @samp @item @code{noteheadStyle}@indexcode{noteheadStyle} Selects type of note head. Choices are @code{cross}, @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}. They are shown in that order below. @mudela[center] \score { \notes { \property Staff.barNonAuto = 1 \property Voice.noteHeadStyle = cross a' \property Voice.noteHeadStyle = diamond a' \property Voice.noteHeadStyle = harmonic a' \property Voice.noteHeadStyle = transparent a' \property Voice.noteHeadStyle = "" a' } \paper { linewidth = -1.; } } @end mudela @end table @subsubheading Grace properties @cindex properties!Grace @table @samp @item @code{stemStyle}@indexcode{stemStyle} By default set to @code{"grace"} meaning that all unbeamed notes with flags are typeset with a slash through the flag. Setting to @code{""} gives standard flags. @end table @subsubheading Voice properties @cindex properties!Voice @table @samp @item @code{abbrev}@indexcode{abbrev} Set length for tremolo to be used if no length is explicitly specified. @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding} Determines the extra space added between articulation marks, such as staccato, tenuto, trill, up/down bow or fermata, and the closest staff line or note. @item @code{articulationScriptVerticalDirection} @indexcode{articulationScriptVerticalDirection} Determines the location of articulation marks. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. This property does not override explicit directions marked with `@code{^}' or `@code{_}' in the mudela file. @item @code{noAutoBeaming}@indexcode{beamAuto} If set to 1 then beams are not generated automatically. @item @code{beamAutoEnd}@indexcode{beamAutoEnd} Specifies when automatically generated beams can end. See section XREF-autobeam [FIXME]. @item @code{beamAutoBegin}@indexcode{beamAutoBegin} Specifies when automatically generated beams can start. See section XREF-autobeam [FIXME]. @item @code{beamquantisation}@indexcode{beamquantisation} Set to @code{\none} for no quantization. Set to @code{\normal} to quantize position and slope. Set to @code{\traditional} to avoid wedges. These three settings are available via @code{\beamposfree}@keyindex{beamposfree}, @code{\beamposnormal}@keyindex{beamposnormal}, and @code{\beampostraditional}@keyindex{beampostraditional}. @item @code{beamslopedamping}@indexcode{beamslopedamping} Set to @code{\none} for undamped beams. Set to @code{\normal} for damped beams. Set to @code{\infinity} for beams with zero slope. The identifiers @code{\beamslopeproportional}@keyindex{beamslopeproportional}, @code{\beamslopedamped}@keyindex{beamslopedamped}, and @code{\beamslopezero}@keyindex{beamslopezero} each set the corresponding value. @item @code{dynamicDirection}@indexcode{dynamicDirection} Determines location of dynamic marks. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. @item @code{dynamicStyle}@indexcode{dynamicStyle} Set the text style for dynamics. @item @code{fontSize}@indexcode{fontSize} Can be used to select smaller font sizes for music. The normal font size is 0, and the two smaller sizes are -1 and -2. @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift} Force horizontal shift for collision resolution. It overrides automatic collision resolution. The value is the shift amount expressed in @code{note_width}, as set in the paper section. [FIXME: this should be moved] Lilypond always arranges note heads on alternate sides of a stem (that is, within a single voice) as necessary to prevent collisions (note head overlaps). For up stems, the upper note of a colliding pair is placed on the right side of the stem, the lower on the left. For down stems, the algorithm works in reverse. Lily also attempts to prevent collisions of note heads in different voices. A situation where chords of two or more voices are played simultaneously within one staff. By default, if only two voices (and both have opposite stem directions) are in this 'collision group', the notes both are shifted by @code{0.5 \quartwidth} if there are unisons or seconds between the voices. If there are more than two voices in a collision group, shifting is inactive by default, since in this case, there are multiple chords with the same stem direction. By distinguish between those chords, LilyPond can do collision resolution in these cases as well. Distinguishing between voices with the same stem direction, is done by setting the property @code{Voice.horizontalNoteShift}. It must be set to a different integer for each voice. Then, all note heads in collision groups (not just unisons and seconds) will be offset, one voice relative another. The following fragment of sheet music shows how shifting is done, with values of @code{horizontalNoteShift} printed over and under the notes. In this case the chords are just simple notes. @c URG : mudela book bug. @mudela[singleline] \score { \notes \context Staff < \context Voice = VA { \stemup f''4^"0" } \context Voice = VB {\stemup \property Voice.horizontalNoteShift = 1 d''4^" 1" } \context Voice = VC { \stemup \property Voice.horizontalNoteShift = 2 b'4^" 2" } \context Voice = VD { \stemdown \property Voice.horizontalNoteShift = 1 g'4_"1 " } \context Voice = VE { \stemdown e'4_"0" } > } @end mudela If you are not satisfied with the collision resolution of LilyPond, you can override the horizontal shift value of the chord of one Voice, by setting @code{forceHorizontalShift}. This sets the amount shift, measured in black note head widths. To take complete control of note position shifts in complex passages, you have set things up for normal collisions and override all shifts by setting @code{forceHorizontalShift} to zero everywhere @example \property Voice.horizontalNoteShift = \property Voice.forceHorizontalShift = "0.0" @end example Then you can set the force property to a suitable value before each note that really needs it (unisons and seconds), and reset it to 0.0 after the note. @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift} Enable LilyPond to shift notes horizontally if they collide with other notes. This is useful when typesetting many voices on one staff. The identifier @code{\shift}@keyindex{shift} is defined to enable this. Traditionally, the outer chords (the upmost and downmost voices), should have no @code{horizontalNoteShift}. @item @code{markScriptPadding}@indexcode{markScriptPadding} Determines the extra space added between the mark and the closest staff line or note. @item @code{markDirection}@indexcode{markDirection} Determines if marks should be printed above or below the staff. Set to @code{\up} to print marks above the staff; set to @code{\down} to print marks below the staff. @item @code{midiInstrument}@indexcode{midiInstrument} Sets the instrument for MIDI output. If this property is not set then LilyPond will use the @code{instrument} property. This must be set to one of the strings on the list of MIDI instruments that appears in section XREF-midilist [FIXME]. If you use a string which is not listed, LilyPond will silently substitute piano. @item @code{oldTieBehavior}@indexcode{oldTieBehavior} Set to 1 in order to get old tie behavior where ties would connect unequal pitches. This property is deprecated, and its use is not recommended. @item @code{restStyle}@indexcode{restStyle} Change the layout of rests shorter than quarter notes. Currently, the standard layout @code{""} and mensural notation @code{"mensural"} are available. Mensural rests of duration 32 or shorter are not available. @item @code{scriptHorizontal}@indexcode{scriptHorizontal} Put scripts left or right of note heads. Support for this is limited. Accidentals will collide with scripts. @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection} Set to @code{\free} for free choice of slur direction, set to @code{\up} to force slurs up, set to @code{\down} to force slurs down. The shorthands @code{\slurup}@keyindex{slurup}, @code{\slurdown}@keyindex{slurdown}, and @code{\slurboth}@keyindex{slurboth} are available. @item @code{slurDash}@indexcode{slurDash} Set to 0 for normal slurs, 1 for dotted slurs, and a larger value for dashed slurs. Identifiers @code{\slurnormal}@keyindex{slurnormal} and @code{\slurdotted}@keyindex{slurdotted} are predefined to set the first two settings. @item @code{stemLength}@indexcode{stemLength} Set length of stems. Unit is `@code{interline}/2', so @code{stemLength} defaults to 7. @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount} Specify the number of beams to draw on the left side of the next note. Overrides automatic beaming. The value is only used once, and then it is erased. @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount} Specify the number of beams to draw on the right side of the next note. Overrides automatic beaming. The value is only used once, and then it is erased. @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection} Set to @code{\free} for free choice of tie direction, set to @code{\up} to force ties up, set to @code{\down} to force ties down. @item @code{transposing}@indexcode{transposing} Transpose the MIDI output. Set this property to the number of half-steps to transpose by. @item @code{textEmptyDimension}@indexcode{textEmptyDimension} If set to 1 then text placed above or below the staff is assumed to have zero width. @item @code{textStyle}@indexcode{textStyle} Set the text style for superscripts and subscripts. See above for list of text styles. @item @code{textScriptPadding}@indexcode{textScriptPadding} Determines the extra space added between superscripted resp. subscripted text and the closest staff line or note. @item @code{verticalDirection}@indexcode{verticalDirection} Determines the direction of stems, subscripts, beams, slurs, and ties. Set to @code{\down} to force them down, @code{\up} to force them up, or @code{\free} to let LilyPond decide. This can be used to distinguish between voices on the same staff. The @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup}, and @code{\stemboth}@keyindex{stemboth} identifiers set this property. @item @code{tupletDirection}@indexcode{tupletDirection} Determines the direction of triplets and other tuplets. Set to @code{\down} to force them below the staff, @code{\up} to force them above, or @code{\free} to let LilyPond decide. @item @code{tupletVisibility}@indexcode{tupletVisibility} Determines whether tuplets of notes are labelled. Setting to 0 shows nothing; setting to 1 shows a number; setting to 2 shows a number and a bracket if there is no beam; setting to 3 shows a number, and if there is no beam it adds a bracket; setting to 4 shows both a number and a bracket unconditionally. @end table @subsubheading Staff properties @cindex properties!Staff @table @samp @item @code{barNonAuto}@indexcode{barNonAuto} If set to 1 then bar lines will not be printed automatically; they must be explicitly created with @code{\bar} keywords. Unlike with the @code{\cadenza} keyword, measures are still counted. Bar generation will resume according to that count if this property is set to zero. @item @code{barNumberDirection}@indexcode{barNumberDirection} Set to @code{\up} or @code{\down} to put bar numbers above or below the staff. @item @code{barNumberHangOnClef}@indexcode{barNumberHangOnClef} Set to 1 to cause bar numbers to appear above or below the clef instead of on the bar line. This property is deprecated. Do not use. @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding} Sets extra space between the bar number and the bar it labels. @item @code{barSize}@indexcode{barSize} Specify the height of the bar lines if it should be different than the staff height. @item @code{barAtLineStart}@indexcode{barAtLineStart} Set to 1 to produce a bar line after the clef at the start of each line (but not at the beginning of the music). @item @code{clefStyle}@indexcode{clefStyle} Determines how clefs are typeset. If set to @code{transparent}, the clefs are not printed at all, if set to @code{fullSizeChanges}, clef changes in the middle of a line are typeset with a full size clef. By default, clef changes are typeset in smaller size. @item @code{createKeyOnClefChange}@indexcode{createKeyOnClefChange} Set to a nonempty string if you want key signatures to be printed when the clef changes. Set to the empty string if you do not want key signatures printed. @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef} Specify whether clefs are created on default? (Doesn't seem to do anything.) @item @code{defaultClef}@indexcode{defaultClef} Determines the default clef. See @code{\clef} keyword. @item @code{markHangOnClef}@indexcode{markHangOnClef} Set to 1 to cause marks to appear by clefs instead of by bar lines. Deprecated, use is not recommended. @item @code{marginDirection}@indexcode{marginDirection} Set to @code{\left} or @code{\right} to specify location of marginal scripts. @item @code{marginScriptPadding}@indexcode{marginScriptPadding} Specify extra space for marginal scripts. @item @code{forgetAccidentals}@indexcode{forgetAccidentals} Causes accidentals to be printed at every note instead of remembered for the duration of a measure. @item @code{noResetKey}@indexcode{noResetKey} Do not reset the key at the start of a measure. Accidentals will be printed only once and are in effect until overridden, possibly many measures later. @item @code{staffLineLeading}@indexcode{staffLineLeading} Specifies the distance (in points) between lines of the staff. @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} Specifies the number of staff lines. The default is 5. @item @code{postBreakPadding}@indexcode{postBreakPadding} Extra space in points to be added after the clef, time signature and key signature on the staff. Deprecated, do not use. @item @code{noVoltaBraces}@indexcode{noVoltaBraces} Set to true to suppress the printing of brackets over alternate endings specified by the command @code{\alternative}. @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} Sets the number of lines that the staff has. @item @code{barAlways}@indexcode{barAlways} If set to 1 a bar line is drawn after each note. @item @code{defaultBarType}@indexcode{defaultBarType} Sets the default type of bar line. See Section XREF-barlines [FIXME] for a list of available bar types. @item @code{instrument}, @code{instr} @indexcode{instrument}@indexcode{instr} If @code{Staff_margin_engraver} @cindex Staff_margin_engraver is added to the Staff translator, then the @code{instrument} property is used to label the first line of the staff and the @code{instr} property is used to label subsequent lines. If the @code{midiInstrument} property is not set, then @code{instrument} is used to determine the instrument for MIDI output. @item @code{keyOctaviation}@indexcode{keyOctaviation} If set to 1, then keys are the same in all octaves. If set to 0 then the key signature for different octaves can be different and is specified independently: @example \keysignature bes fis' @end example The default value is 1. Can be set to zero with @code{\specialkey} or reset to 1 with @code{\normalkey}. @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle} Changes the default two-digit layout for time signatures. The following values are recognized: @table @samp @item @code{C}@indexcode{C} 4/4 and 2/2 are typeset as C and struck C, respectively. All other time signatures are written with two digits. @item @code{old}@indexcode{old} 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are typeset with old-style mensuration marks. All other time signatures are written with two digits. @item @code{1}@indexcode{1} All time signatures are typeset with a single digit, e.g. 3/2 is written as 3. @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N}, @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or @code{old6/8alt}@indexcode{old6/8alt} Tells LilyPond to use a specific symbol as time signature. @end table The different time signature characters are shown below with its names: @mudela[center] \score { \notes\relative c'' { \property Voice.textStyle = typewriter \property Staff.timeSignatureStyle = "C2/2" \time 2/2; a2^"C2/2" a2 \property Staff.timeSignatureStyle = "C4/4" \time 2/2; a2^"C4/4" a2 \property Staff.timeSignatureStyle = "old2/2" \time 2/2; a2^"old2/2" a2 \property Staff.timeSignatureStyle = "old3/2" \time 2/2; a2^"old3/2" a2 \property Staff.timeSignatureStyle = "old2/4" \time 2/2; a2^"old2/4" a2 \property Staff.timeSignatureStyle = "old4/4" \time 2/2; a2^"old4/4" a2 \property Staff.timeSignatureStyle = "old6/4" \time 2/2; a2^"old6/4" a2 \property Staff.timeSignatureStyle = "old9/4" \time 2/2; a2^"old9/4" a2 \property Staff.timeSignatureStyle = "old4/8" \time 2/2; a2^"old4/8" a2 \property Staff.timeSignatureStyle = "old6/8" \time 2/2; a2^"old6/8" a2 \property Staff.timeSignatureStyle = "old6/8alt" \time 2/2; a2^"old6/8alt" a2 \property Staff.timeSignatureStyle = "old9/8" \time 2/2; a2^"old9/8" a2 } \paper { linewidth = 4.5 \in; } } @end mudela @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration} Set to an integer to control the size of the brackets printed by @code{\alternative}. The integer specifies the number of whole notes duration to use for the brackets. It is rounded to the nearest measure. This can be used to shrink the length of brackets in the situation where one alternative is very large. It may have odd effects if the specified duration is longer than the music given in an @code{\alternative}. @end table @cindex properties!GrandStaff @table @samp @item @code{alignmentReference}@indexcode{alignmentReference} Set to @code{\center} for vertical alignment reference point to be in the center of the vertical group. Set to @code{\up} to put the reference point at the top of the group. @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign} Set the maximum vertical distance between staffs. @item @code{minVerticalAlign}@indexcode{minVerticalAlign} Set the minimum vertical distance between staffs. @end table @cindex properties!Score @table @samp @item @code{skipBars}@indexcode{skipBars} Set to 1 to skip the empty bars that are produced by multimeasure notes and rests. These bars will not appear on the printed output. Set to zero (the default) to expand multimeasure notes and rests into their full length, printing the appropriate number of empty bars so that synchronization with other voices is preserved. @quotation @mudela[fragment,verbatim,center] r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3 @end mudela @end quotation @end table @cindex properties!ChordNamesVoice @table @samp @item @code{chordInversion}@indexcode{chordInversion} Determines whether LilyPond should look for chord inversions when translating from notes to chord names. Set to 1 to find inversions. The default is 0 which does not look for inversions. @end table @node Notation output definitions, , , Reference Manual @section Notation output definitions @cindex output @cindex notation output @cindex output definition @node paper, , , Reference Manual The most important output definition is the @code{\paper} block, for music notation. The syntax is @example @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}} @end example where each of the items is one of @itemize @bullet @item An assignment. The assignment must be terminated by a semicolon. See section XREF-papervars [FIXME] for information on paper variables. @item A context definition. See section XREF-contextdefs [FIXME] for more information on context definitions. @item A margin shape declaration. The syntax is @example \shape @var{indent1}@code{,} @var{width1}@code{,} @var{indent2}@code{,} @var{width2} @dots{} @code{;} @end example @keyindex{shape} Each pair of @var{indent} and @var{width} values is a dimension specifying how far to indent and how wide to make the line. The indentation and width of successive lines are specified by the successive pairs of dimensions. The last pair of dimensions will define the characeristics of all lines beyond those explicitly specified. @item A font declaration. Its syntax is @example @var{fontsize} @code{=} \font@keyindex{font} @var{fontname} @end example @var{fontsize} is an integer describing the font to be used. 0 is the default font. @var{fontname} is the basename of a font (usually a member of the Feta family). @end itemize @cindex changing font size and paper size The Feta font provides musical symbols at six different sizes. These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26 point. The point size of a font is the height of the five lines in a staff when displayed in the font. Definitions for these sizes are the files @file{paperSZ.ly}, where @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of these files, the identifiers @code{paper_eleven}, @code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty}, @code{paper_twentythree}, and @code{paper_twentysix} are defined respectively. The default @code{\paper} block is also set. To change the paper size, you must first set the @code{papersize}@indexcode{papersize} variable at top level. Set it to the strings @code{a4}, @code{letter}, or @code{legal}. After this specification, you must set the font as described above. If you want the default font, then use the 20 point font. The new paper size will not take effect if the font is not loaded and selected afterwards. Paper size selection works by loading a file named after the paper size you select. @cindex paper variables @node papervars, , , Reference Manual There is a large number of paper variables that are used to control details of the layout. These variables control the defaults for the entire score. Usually, they do not have to be changed; they are by default set to values that depend on the font size in use. The values are used by the graphic objects while formatting the score; they are therefore implementation dependent. Most variables are accompanied by documentation in the initalization file @file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff height in points. Nevertheless, here are some variables you may want to use or change: @table @samp @item @code{indent}@indexcode{indent} The indentation of the first line of music. @item @code{interline}@indexcode{interline} The distance between two staff lines, calculated from the center of the lines. You should use either this or @code{rulethickness} as a unit for distances you modify. @item @code{linewidth}@indexcode{linewidth} Sets the width of the lines. If set to -1.0, a single unjustified line is produced. @item @code{output}@indexcode{output} Specifies an alternate name for the the output @file{s}. A @file{.tex}, @file{.midi} or @file{.ps} extension will be added to the string you specify. @item @code{rulethickness}@indexcode{rulethickness} Determines the thickness of staff and bar lines. @item @code{castingalgorithm}@indexcode{castingalgorithm} The algorithm to use for breaking lines. Choices are @code{\Gourlay}@keyindex{Gourlay} for a TeX-like dynamic programming algorithm, and @code{\Wordwrap}@keyindex{Wordwrap} for a simple algorithm. Gourlay breaking looks much better, but takes a lot more resources. Wordwrap leaves loosely spaced lines at the end. @end table @node contextdefs, , , Reference Manual @cindex context definition A notation contexts is defined by the following information @enumerate i @item A name. @item The LilyPond modules that do the actual conversion of music to notation. Each module is a so-called @emph{engraver} @cindex engraver . @item How these modules should cooperate, i.e. which ``cooperation module'' should be used. This cooperation module is a special type of engraver. @item What other contexts the context can contain, @item What properties are defined. @end enumerate A context definition has this syntax: @example \translator @code{@{} @var{translatorinit} @var{translatormodifierlist} @code{@}} @end example @var{translatorinit} can be an identifier or of the form @example \type @var{typename} @code{;} @end example @var{typename} is one of @table @samp @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} The standard cooperation engraver. @item @code{Score_engraver}@indexcode{Score_engraver} This is cooperation module that should be in the top level context. @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group} This is a special cooperation module (resembling @code{Score_engraver}) that is used to created an embedded `miniscore'. @end table @var{translatormodifierlist} is a list of items where each item is one of @itemize @bullet @item @code{\consists} @var{engravername} @code{;} Add @var{engravername} to the list of modules in this context. Section XREF-engravers [FIXME] contains an overview of the engravers available. The order of engravers added with @code{\consists} is significant. @item @code{\consistsend} @var{engravername} @code{;} Analogous to @code{\consists}, but makes sure that @var{engravername} is always added to the end of the list of engravers. Some engraver types need to be at the end of the list; this insures they are put there, and stay there, if a user adds or removes engravers. This command is usually not needed for end-users. @item @code{\accepts} @var{contextname} @code{;} Add @var{contextname} to the list of context this context can contain. The first listed context the context to create by default. @item @code{\remove} @var{engravername} @code{;} Remove a previously added (with @code{\consists}) engraver. @item @code{\name} @var{contextname} @code{;} This sets name of the context, e.g. @code{Staff}, @code{Voice}. If the name is not specified, the translator won't do anything. @item @var{propname} @code{=} @var{value} @code{;} A property assignment. It is allowed to use reals for @var{value}. @end itemize In the @code{\paper} block, it is also possible to define translator identifiers. Like other block identifiers, the identifier can only be used as the very first item of a translator. In order to define such an identifier outside of @code{\score}, you must do @quotation @example \paper @{ foo = \translator @{ @dots{} @} @} \score @{ \notes @{ @dots{} @} \paper @{ \translator @{ \foo @dots{} @} @} @} @end example @end quotation @cindex paper types, engravers, and pre-defined translators Some pre-defined identifiers can simplify modification of translators. The pre-defined identifiers are: @table @samp @item @code{StaffContext}@indexcode{StaffContext} Default Staff context. @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} Default RhythmicStaff context. @item @code{VoiceContext}@indexcode{VoiceContext} Default Voice context. @item @code{ScoreContext}@indexcode{ScoreContext} Default Score context. @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} Score context with numbering at the Score level. @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} Staff context with numbering at the Staff level. @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext} Staff context that does not print if it only contains rests. Useful for orchestral scores.@footnote{Harakiri, also called Seppuku, is the ritual suicide of the Samourai.} @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext} @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext} @end table Using these pre-defined values, you can remove or add items to the translator: @quotation @example \paper @{ \translator @{ \StaffContext \remove Some_engraver; \consists Different_engraver; @} @} @end example @end quotation @node engravers, , , Reference Manual The engravers for paper output are: [incomplete, FIXME] @table @samp @item @code{Bar_engraver}@indexcode{Bar_engraver} Engraves bar lines. Normally in @code{Staff} and @code{RhythmicStaff}. @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver} Engrave bar numbers. These numbers appear at the start of each line. Not normally in any translator. Can be added to @code{Score} for score-wide numbering or to @code{Staff} for numbering on each staff. @item @code{Beam_engraver}@indexcode{Beam_engraver} Handles beam requests by engraving beams. Normally appears in the @code{Voice} translator. If omitted, then notes will be printed with flags instead of beams. @item @code{Beam_req_swallow_translator} @indexcode{Beam_req_swallow_translator} Swallows beam requests. In @code{LyricVoice}. @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver} Engraves chord names. Normally in @code{ChordNameVoice} . @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver} @item @code{Clef_engraver}@indexcode{Clef_engraver} Engraves the clef symbol. Normally in @code{Staff}. @item @code{Collision_engraver}@indexcode{Collision_engraver} @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver} Engraves dots on dotted notes shifted to the right of the note. Normally in @code{Voice}. If omitted, then dots appear on top of the notes. @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver} Engraves dynamics symbols. Normally in @code{Voice}. @item @code{Font_size_engraver}@indexcode{Font_size_engraver} @item @code{Key_engraver}@indexcode{Key_engraver} Engraves the key signature. Normally in @code{Staff}. @item @code{Local_key_engraver}@indexcode{Local_key_engraver} @item @code{Lyric_engraver}@indexcode{Lyric_engraver} Engraves lyrics. Normally in @code{LyricVoice}. @item @code{Multi_measure_rest_engraver} @indexcode{Multi_measure_rest_engraver} Engraves multi-measure rests that are produced with @code{R}. Normally in @code{Voice}. @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver} @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver} Treat all pitches as middle C. Used in @code{RhythmicStaff}. Note that the notes move, but the locations of accidentals stay the same. @item @code{Priority_horizontal_align_engraver} @indexcode{Priority_horizontal_align_engraver} @item @code{Repeat_engraver}@indexcode{Repeat_engraver} Handles repeats? In @code{Staff} and @code{RhythmicStaff}. @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver} Handles collisions of rests. In @code{Staff}. @item @code{Rest_engraver}@indexcode{Rest_engraver} Engraves rests. Normally in @code{Voice}. @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver} @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver} @item @code{Script_engraver}@indexcode{Script_engraver} Handles note ornaments generated by @code{\script}. Normally in @code{Voice}. @item @code{Separating_line_group_engraver} @indexcode{Separating_line_group_engraver} @item @code{Skip_req_swallow_translator} @indexcode{Skip_req_swallow_translator} @item @code{Slur_engraver}@indexcode{Slur_engraver} Engraves slurs. Normally in @code{Voice}. @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver} Engraves lines across multiple staffs. Normally in @code{Staffgroup} and @code{GrandStaff}. Removing this from @code{StaffGroup} gives the definition of @code{ChoirStaff}. @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver} @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver} @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver} Prints the name of the instrument (specified by @code{Staff.instrument} and @code{Staff.instr}) at the left of the staff. @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver} @item @code{Stem_engraver}@indexcode{Stem_engraver} Engraves stems. Normally in @code{Voice}. @item @code{Ties_engraver}@indexcode{Ties_engraver} Engraves ties. Normally in @code{Voice}. @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver} Engraves the time signature. Normally in @code{Staff} and @code{RhythmicStaff}. @item @code{Timing_engraver}@indexcode{Timing_engraver} Responsible for synchronizing timing information from staffs. Normally in @code{Score}. In order to create polyrhythmic music, this engraver should be removed from @code{Score} and placed in @code{Staff}. @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver} Engraves tuplet brackets? In @code{Staff}. @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver} @end table @node Sound output, , , Reference Manual @section Sound output The MIDI block is analogous to the paper block, but it is simpler. The @code{\midi} block can contain: @cindex MIDI block @itemize @bullet @item a @code{\tempo} definition @item context definitions @end itemize Assignments in the @code{\midi} block are not allowed. @cindex context definition Context definitions follow precisely the same syntax as within the \paper block. Translation modules for sound are called performers. The contexts for MIDI output are defined in @file{ly/performer.ly}. @cindex MIDI instrument names @node midilist, , , Reference Manual The MIDI instrument name is set by the @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or, if that property is not set, the @code{Staff.instrument}@indexcode{Staff.instrument} property. The instrument name should be chosen from the following list. If the selected string does not exactly match, then LilyPond uses the default piano. @quotation @example "acoustic grand" "contrabass" "lead 7 (fifths)" "bright acoustic" "tremolo strings" "lead 8 (bass+lead)" "electric grand" "pizzicato strings" "pad 1 (new age)" "honky-tonk" "orchestral strings" "pad 2 (warm)" "electric piano 1" "timpani" "pad 3 (polysynth)" "electric piano 2" "string ensemble 1" "pad 4 (choir)" "harpsichord" "string ensemble 2" "pad 5 (bowed)" "clav" "synthstrings 1" "pad 6 (metallic)" "celesta" "synthstrings 2" "pad 7 (halo)" "glockenspiel" "choir aahs" "pad 8 (sweep)" "music box" "voice oohs" "fx 1 (rain)" "vibraphone" "synth voice" "fx 2 (soundtrack)" "marimba" "orchestra hit" "fx 3 (crystal)" "xylophone" "trumpet" "fx 4 (atmosphere)" "tubular bells" "trombone" "fx 5 (brightness)" "dulcimer" "tuba" "fx 6 (goblins)" "drawbar organ" "muted trumpet" "fx 7 (echoes)" "percussive organ" "french horn" "fx 8 (sci-fi)" "rock organ" "brass section" "sitar" "church organ" "synthbrass 1" "banjo" "reed organ" "synthbrass 2" "shamisen" "accordion" "soprano sax" "koto" "harmonica" "alto sax" "kalimba" "concertina" "tenor sax" "bagpipe" "acoustic guitar (nylon)" "baritone sax" "fiddle" "acoustic guitar (steel)" "oboe" "shanai" "electric guitar (jazz)" "english horn" "tinkle bell" "electric guitar (clean)" "bassoon" "agogo" "electric guitar (muted)" "clarinet" "steel drums" "overdriven guitar" "piccolo" "woodblock" "distorted guitar" "flute" "taiko drum" "guitar harmonics" "recorder" "melodic tom" "acoustic bass" "pan flute" "synth drum" "electric bass (finger)" "blown bottle" "reverse cymbal" "electric bass (pick)" "skakuhachi" "guitar fret noise" "fretless bass" "whistle" "breath noise" "slap bass 1" "ocarina" "seashore" "slap bass 2" "lead 1 (square)" "bird tweet" "synth bass 1" "lead 2 (sawtooth)" "telephone ring" "synth bass 2" "lead 3 (calliope)" "helicopter" "violin" "lead 4 (chiff)" "applause" "viola" "lead 5 (charang)" "gunshot" "cello" "lead 6 (voice)" @end example @end quotation @cindex MIDI types and performers The types available for MIDI translators are: @table @samp @item @code{Performer_group_performer}@indexcode{Performer_group_performer} @item @code{Score_performer}@indexcode{Score_performer} @item @code{Staff_performer}@indexcode{Staff_performer} @end table The performers for MIDI translators are: @table @samp @item @code{Key_performer}@indexcode{Key_performer} @item @code{Time_signature_performer}@indexcode{Time_signature_performer} @item @code{Note_performer}@indexcode{Note_performer} @item @code{Lyric_performer}@indexcode{Lyric_performer} @item @code{Swallow_performer}@indexcode{Swallow_performer} @end table @node Pre-defined Identifiers, , , Reference Manual @section Pre-defined Identifiers @cindex pre-defined identifiers Various identifiers are defined in the initialization files to provide shorthands for some settings. Most of them are in @file{ly/declarations.ly}. @table @samp @item @code{\break}@keyindex{break} Force a line break in music by using a large argument for the keyword @code{\penalty}. @item @code{\center}@keyindex{center} Used for setting direction properties. Equals 0. @item @code{\down}@keyindex{down} Used for setting direction setting properties. Is equal to -1. @item @code{\free}@keyindex{free} Used for setting direction setting properties. Is equal to 0. @item @code{\left}@keyindex{left} Used for setting text alignment property. Is equal to -1. @item @code{\nobreak}@keyindex{nobreak} Prevent a line break in music by using a large negative argument for the keyword @code{\penalty}. @item @code{\none}@keyindex{none} Used for setting @code{Score.beamslopedamping} and @code{Score.beamquantisation} properties. Is equal to 0. @item @code{\normal}@keyindex{normal} Used for setting @code{Score.beamslopedamping} and @code{Score.beamquantisation} properties. Is equal to 1. @item @code{\normalkey}@keyindex{normalkey} Select normal key signatures where each octave has the same key signature. This sets the @code{Staff.keyoctaviation} property. @item @code{\right}@keyindex{right} Used for setting text alignment property. Is set to 1. @item @code{\shiftoff}@keyindex{shiftoff} Disable horizontal shifting of note heads that collide. Sets the @code{Voice.horizontalNoteShift} property. @item @code{\shifton}@keyindex{shifton} Enable note heads that collide with other note heads to be shifted horiztonally. Sets the @code{Voice.horizontalNoteShift} property. @item @code{\slurboth}@keyindex{slurboth} Allow slurs to be above or below notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\slurdown}@keyindex{slurdown} Force slurs to be below notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\slurup}@keyindex{slurup} Force slurs to be above notes. This sets the @code{Voice.slurVerticalDirection} property. @item @code{\specialkey}@keyindex{specialkey} Allow key signatures do differ in different octaves. This sets the @code{Staff.keyoctaviation} property. @item @code{\stemboth}@keyindex{stemboth} Allow stems, beams, and slurs to point either upwards or downwards, decided automatically by LilyPond. This sets the @code{Voice.verticalDirection} property. @item @code{\stemdown}@keyindex{stemdown} Force stems, beams, and slurs to point down. This sets the @code{Voice.verticalDirection} property. @item @code{\stemup}@keyindex{stemup} Force stems, beams and slurs to point up. This sets the @code{Voice.verticalDirection} property. @item @code{\traditional}@keyindex{traditional} Used for setting the @code{Score.beamquantisation} property. Is equal to 2. @item @code{\up}@keyindex{up} Used for setting various direction properties. Is equal to 1. @end table @node Running LilyPond, , , Reference Manual @section Running LilyPond @cindex running LilyPond When invoked with a filename that has no extension, LilyPond will try adding `@file{.ly}' as an extension first, then `@file{.fly}' and finally `@file{.sly}' extension. If the filename ends with `@file{.fly}', LilyPond processes the file as music using `@file{init.fly}'. In this case, LilyPond does something like: @quotation @example \score @{ \notes\relative c @{ \input "yourfile.fly" @} \paper@{@} \midi@{@} @} @end example @end quotation The result of `@file{.sly}' is similar except that a single unjustified line is produced. If you invoke LilyPond with a file `@file{foo.}@var{ext}' that doesn't have the `@file{.ly}' extension, then LilyPond will look for a file called `@file{init.}@var{ext}' and process this file. The file `@file{init.}@var{ext}' must contain the @code{\maininput} keyword or LilyPond will not read the user specified file. When LilyPond processes @file{filename.ly} it will produce @file{filename.tex} as output. If @file{filename.ly} contains a second @code{\paper} keyword, then LilyPond will produce @file{filename-1.tex} as well. Subsequent @code{\paper} keywords will produce sequentially numbered file names. Several files can be specified; they will each be processed independently.@footnote{Not entirely true: The status of GUILE is kept.} @node Glossary, , , Top @chapter Glossary @include glossary.texi @bye