Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.21"
+@c \version "2.19.22"
@node General input and output
@chapter General input and output
are used by the various back-ends when producing output files.
In the previous section, we saw how Lilypond prevents name-clashes when
-producing several ouputs from a single source file. You also have the
+producing several outputs from a single source file. You also have the
ability to specify your own suffixes for each @code{\book} block, so
for example you can produce files called
@file{eightminiatures-Romanze.pdf}, @file{eightminiatures-Menuetto.pdf}
@code{#(ly:set-option 'point-and-click #f)}.
@item
-A @code{\header} block. This sets the global (i.e. the top of
+A @code{\header} block. This sets the global (i.e., the top of
file) header block. This is the block containing the default
settings of titling fields like composer, title, etc. for all
books within the file (see @ref{Titles explained}).
@item Around every opening and closing curly bracket.
-@item After every command or variable, i.e. every item that
+@item After every command or variable, i.e., every item that
begins with a @code{\} sign.
@item After every item that is to be interpreted as a Scheme
-expression, i.e. every item that begins with a @code{#}@tie{}sign.
+expression, i.e., every item that begins with a @code{#}@tie{}sign.
@item To separate all elements of a Scheme expression.
@node Titles and headers
@section Titles and headers
+@cindex titles
+@cindex headers
+@cindex footers
+
Almost all printed music includes a title and the composer's name;
some pieces include a lot more information.
@menu
* Creating titles headers and footers::
* Custom titles headers and footers::
+* Creating PDF metadata::
* Creating footnotes::
* Reference to page numbers::
* Table of contents::
}
\score {
- \new Staff \relative g, {
+ \new Staff \relative {
\clef bass
\key g \major
- \repeat unfold 2 { g16( d' b') a b d, b' d, } |
+ \repeat unfold 2 { g,16( d' b') a b d, b' d, } |
\repeat unfold 2 { g,16( e' c') b c e, c' e, } |
}
\header {
}
\score {
- \new Staff \relative b {
+ \new Staff \relative {
\clef bass
\key g \major
\partial 16 b16 |
\header {
title = "DAS WOHLTEMPERIRTE CLAVIER"
subtitle = "TEIL I"
- % Do not display the tagline for this book
+ % Do not display the default LilyPond footer for this book
tagline = ##f
}
\markup { \vspace #1 }
@node Default layout of bookpart and score titles
@unnumberedsubsubsec Default layout of bookpart and score titles
-This example demonstrates all @code{\header} variables:
+This example demonstrates all printed @code{\header} variables:
@lilypond[papersize=a6landscape,quote,verbatim,noragged-right]
\book {
meter = "Meter"
arranger = "Arranger"
% The following fields are centered at the bottom
- tagline = "tagline goes at the bottom of the last page"
- copyright = "copyright goes at the bottom of the first page"
+ tagline = "The tagline goes at the bottom of the last page"
+ copyright = "The copyright goes at the bottom of the first page"
}
\score {
{ s1 }
@end itemize
-The default tagline can be changed by adding a @code{tagline} in the
-top-level @code{\header} block.
+The default LilyPond footer text can be changed by adding a
+@code{tagline} in the top-level @code{\header} block.
@lilypond[papersize=a8landscape,verbatim]
\book {
}
@end lilypond
-To remove the @code{tagline} set the value to @code{##f}.
+To remove the default LilyPond footer text, the @code{tagline} can be
+set to @code{##f}.
@node Custom titles headers and footers
@code{\paper} block, using the following syntax:
@example
-@code{variable} = @code{\markup} @{
+variable = \markup @{
@dots{}
- @code{\on-the-fly} \@var{procedure} @var{markup}
+ \on-the-fly \@var{procedure} @var{markup}
@dots{}
@}
@end example
The @var{procedure} is called each time the @code{\markup} command
in which it appears is evaluated. The @var{procedure} should test
-for a particular condition and interpret (i.e. print) the
+for a particular condition and interpret (i.e., print) the
@var{markup} argument if and only if the condition is true.
A number of ready-made procedures for testing various conditions are
@q{and} operation, for example,
@example
- @code{\on-the-fly \first-page}
- @code{\on-the-fly \last-page}
+ \on-the-fly \first-page
+ \on-the-fly \last-page
@code{@{ \markup @dots{} \fromproperty #'header: @dots{} @}}
@end example
Installed Files:
@file{../ly/titling-init.ly}.
+@node Creating PDF metadata
+@subsection Creating PDF metadata
+
+@cindex PDF metadata
+
+In addition to being shown in the printed output, @code{\header} variables
+are also used to set PDF metadata (the information displayed by PDF readers
+as the @code{properties} of the PDF file). As metadata are applied per
+output file, only @code{\header} blocks located at top level or within an
+explicit @code{\book} block will be used to generate PDF metadata; while
+@code{\header} variables in a @code{\bookpart} or @code{\score} block
+will be reflected in the printed output of the respective blocks, the
+document-wide PDF metadata will not be affected by headers at that level.
+
+For example, setting the @code{title} property of the @code{header} block
+@q{Symphony I} will also give this title to the PDF document.
+
+@example
+\header@{
+ title = "Symphony I"
+@}
+@end example
+
+If you want to set the title of the printed output to one value, but have the
+title property of the PDF to have a different value, you can use
+@code{pdftitle}, as below.
+
+@example
+\header@{
+ title = "Symphony I"
+ pdftitle = "Symphony I by Beethoven"
+@}
+@end example
+
+The variables @code{title}, @code{subject}, @code{keywords},
+@code{subtitle}, @code{composer}, @code{arranger}, @code{poet}, @code{author}
+and @code{copyright} all set PDF properties and can all be prefixed with
+@q{pdf} to set a PDF property to a value different from the printed output.
+
+The PDF property @code{Creator} is automatically set to @q{LilyPond} plus
+the current LilyPond version, and @code{CreationDate} and @code{ModDate} are
+both set to the current date and time. @code{ModDate} can be overridden by
+setting the header variable @code{moddate} (or @code{pdfmoddate}) to a
+valid PDF date string.
@node Creating footnotes
@subsection Creating footnotes
@item Context
is the context in which the grob being footnoted is created. It
-may be omitted if the grob is in a bottom context, e.g. a
+may be omitted if the grob is in a bottom context, e.g., a
@code{Voice} context.
@item GrobName
@node Table of contents
@subsection Table of contents
-A table of contents is included using the @code{\markuplist \table-of-contents}
-command. The elements which should appear in the table of contents are
-entered with the @code{\tocItem} command, which may be used either at
-top-level, or inside a music expression.
+A table of contents is included using the
+@code{\markuplist \table-of-contents} command. The elements which
+should appear in the table of contents are entered with the
+@code{\tocItem} command, which may be used either at top-level, or
+inside a music expression.
@verbatim
\markuplist \table-of-contents
}
@end verbatim
-The markups which are used to format the table of contents are defined
-in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
-for formatting the title of the table, and @code{tocItemMarkup}, for
-formatting the toc elements, composed of the element title and page
-number. These variables may be changed by the user:
+Markups used for formatting the table of contents are defined in the
+@code{\paper} block. There are two @q{pre-defined} markups already
+available;
+
+@itemize
+
+@item
+@code{tocTitleMarkup}
+
+@noindent
+Used for formatting the title of the table of contents.
+
+@verbatim
+tocTitleMarkup = \markup \huge \column {
+ \fill-line { \null "Table of Contents" \null }
+ \null
+}
+@end verbatim
+
+@item
+@code{tocItemMarkup}
+
+@noindent
+Used for formatting the elements within the table of contents.
+
+@verbatim
+tocItemMarkup = \markup \fill-line {
+ \fromproperty #'toc:text \fromproperty #'toc:page
+}
+@end verbatim
+
+@end itemize
+
+@noindent
+Both of these variables can be changed.
+
+Here is an example changing the table of contents' title into French;
@verbatim
\paper {
- %% Translate the toc title into French:
tocTitleMarkup = \markup \huge \column {
\fill-line { \null "Table des matières" \null }
\hspace #1
}
- %% use larger font size
- tocItemMarkup = \markup \large \fill-line {
- \fromproperty #'toc:text \fromproperty #'toc:page
- }
+@end verbatim
+
+Here is an example changing the font-size of the elements in the table
+of contents;
+
+@verbatim
+tocItemMarkup = \markup \large \fill-line {
+ \fromproperty #'toc:text \fromproperty #'toc:page
}
@end verbatim
-Note how the toc element text and page number are referred to in
-the @code{tocItemMarkup} definition.
+Note how the element text and page numbers are referred to in the
+@code{tocItemMarkup} definition.
-New commands and markups may also be defined to build more elaborated
-table of contents:
-@itemize
-@item first, define a new markup variable in the @code{\paper} block
-@item then, define a music function which aims at adding a toc element
-using this markup paper variable.
-@end itemize
+The @code{\tocItemWithDotsMarkup} command can be included within the
+@code{tocItemMarkup} to fill the line, between a table of contents item
+and its corresponding page number, with dots;
-In the following example, a new style is defined for entering act names
-in the table of contents of an opera:
+@lilypond[verbatim,line-width=10.0\cm]
+\header { tagline = ##f }
+\paper {
+ tocItemMarkup = \tocItemWithDotsMarkup
+}
+
+\book {
+ \markuplist \table-of-contents
+ \tocItem \markup { Allegro }
+ \tocItem \markup { Largo }
+ \markup \null
+}
+@end lilypond
+
+Custom commands with their own markups can also be defined to build a
+more complex table of contents. In the following example, a new style
+is defined for entering act names in a table of contents of an opera;
+
+@noindent
+A new markup variable (called @code{tocActMarkup}) is defined in the
+@code{\paper} block;
@verbatim
\paper {
\hspace #1
}
}
+@end verbatim
+
+@noindent
+A custom music function (@code{tocAct}) is then created -- which uses
+the new @code{tocActMarkup} markup definition.
+@verbatim
tocAct =
-#(define-music-function (parser location text) (markup?)
- (add-toc-item! 'tocActMarkup text))
+ #(define-music-function (text) (markup?)
+ (add-toc-item! 'tocActMarkup text))
@end verbatim
+@noindent
+A LilyPond input file, using these customer definitions, could look
+something like this;
+
@lilypond[line-width=10.0\cm]
\header { tagline = ##f }
\paper {
}
tocAct =
-#(define-music-function (parser location text) (markup?)
+#(define-music-function (text) (markup?)
(add-toc-item! 'tocActMarkup text))
\book {
\markuplist \table-of-contents
\tocAct \markup { Atto Primo }
\tocItem \markup { Coro. Viva il nostro Alcide }
- \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
+ \tocItem \markup { Cesare. Presti omai l'Egizia terra }
\tocAct \markup { Atto Secondo }
\tocItem \markup { Sinfonia }
\tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
}
@end lilypond
-Dots can be added to fill the line between an item and its page number:
-@lilypond[verbatim,line-width=10.0\cm]
-\header { tagline = ##f }
-\paper {
- tocItemMarkup = \tocItemWithDotsMarkup
-}
+Here is an example of the @code{\fill-with-pattern} command used within
+the context of a table of contents;
-\book {
- \markuplist \table-of-contents
- \tocItem \markup { Allegro }
- \tocItem \markup { Largo }
- \markup \null
+@verbatim
+\paper {
+ tocItemMarkup = \markup { \fill-line {
+ \override #'(line-width . 70)
+ \fill-with-pattern #1.5 #CENTER . \fromproperty #'toc:text \fromproperty #'toc:page
+ }
+ }
}
-@end lilypond
+@end verbatim
@seealso
Installed Files:
altoMusic = \relative { e'4 e e f }
tenorMusic = \relative { c'4 b e d8( c) }
bassMusic = \relative { a4 gis a d, }
-allLyrics = \lyricmode {King of glo -- ry }
+allLyrics = \lyricmode { King of glo -- ry }
<<
\new Staff = "Soprano" \sopranoMusic
\new Lyrics \allLyrics
\new Lyrics \allLyrics
\new PianoStaff <<
\new Staff = "RH" {
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \sopranoMusic
- \altoMusic
+ \partcombine \sopranoMusic \altoMusic
}
\new Staff = "LH" {
- \set Staff.printPartCombineTexts = ##f
\clef "bass"
- \partcombine
- \tenorMusic
- \bassMusic
+ \partcombine \tenorMusic \bassMusic
}
>>
>>
are valid LilyPond identifiers (alphabetic characters only, no
numbers, underscores, or dashes) which cannot be confused with notes,
the @code{#'} may be omitted and, as a shorthand, a list of symbols
-can use the dot separator: i.e. @code{\tag #'(violinI violinII)} can
+can use the dot separator: i.e., @code{\tag #'(violinI violinII)} can
be written @code{\tag violinI.violinII}. The same applies to
@code{\keepWithTag} and @code{\removeWithTag}.
Multiple @code{\removeWithTag} filters may be applied to a single
music expression to remove several differently named tagged
-sections. Alternatively, you can use a single
-@code{\removeWithTag} with a list of tags.
+sections. Alternatively, you can use a single @code{\removeWithTag}
+with a list of tags.
@lilypond[verbatim,quote]
music = \relative c'' {
}
@end lilypond
-Two or more @code{\keepWithTag} filters applied to a single music
-expression will cause @emph{all} tagged sections to be removed, as
-the first filter will remove all tagged sections except the one
-named, and the second filter will remove even that tagged section.
-Usually you would rather want to use a single @code{\keepWithTag}
-command with a list of multiple tags: this will only remove tagged
-sections not given in @emph{any} of the tags.
+Using two or more @code{\keepWithTag} filters on a single music
+expression will cause @emph{all} of the tagged sections to be removed.
+The first filter will remove all except the one named and any subsequent
+filters will remove the rest. Using one @code{\keepWithTag} command
+with a list of multiple tags will only remove tagged sections that are
+not specified in that list.
+
+@lilypond[verbatim,quote]
+music = \relative c'' {
+ \tag #'violinI { a4 a a a }
+ \tag #'violinII { b4 b b b }
+ \tag #'viola { c4 c c c }
+ \tag #'cello { d4 d d d }
+}
+
+\new Staff {
+ \keepWithTag #'(violinI violinII)
+ \music
+}
+@end lilypond
+
+@noindent
+will print @code{\tag}s @var{violinI} and @var{violinII} but not
+@var{viola} or @var{cello}.
@cindex tag groups
@funindex \tagGroup
-While @code{\keepWithTag} is convenient when dealing with
-@emph{one} set of alternatives, the removal of music tagged with
-@emph{unrelated} tags is problematic when using tags for more than
-one purpose. For that reason, @q{tag groups} of related tags can
-be declared:
+
+While @code{\keepWithTag} is convenient when dealing with @emph{one} set
+of alternatives, the removal of music tagged with @emph{unrelated} tags
+is problematic when using them for more than one purpose. In that case
+@q{groups} of tags can be declared:
@example
\tagGroup #'(violinI violinII viola cello)
@end example
-declares the respective tags as belonging to one tag group.
+@noindent
+Now all the different tags belong to a single @q{tag group}. Note that
+individual tags cannot be members of more than one @emph{tag group}.
@example
\keepWithTag #'violinI @dots{}
@end example
-will then only be concerned with tags from @code{violinI}'s tag
-group: any element of the included music that is tagged with one
-or more of tags from this set but @emph{not} with @code{violinI}
-will get removed.
+@noindent
+will now only show music tagged from @code{violinI}'s tag group and any
+music tagged with one of the @emph{other} tags will removed.
+
+@lilypond[verbatim,quote]
+music = \relative {
+ \tagGroup #'(violinI violinII viola cello)
+ \tag #'violinI { c''4^"violinI" c c c }
+ \tag #'violinII { a2 a }
+ \tag #'viola { e8 e e2. }
+ \tag #'cello { d'2 d4 d }
+ R1^"untagged"
+}
-To any @code{\keepWithTag} command, only tags from the tag groups
-of the tags given in the command are visible.
+\new Voice {
+ \keepWithTag #'violinI
+ \music
+}
+@end lilypond
-Tags cannot be members of more than one tag group.
+When using the @code{\keepWithTag} command, only tags from the tag
+groups of the tags given in the command are visible.
@funindex \pushToTag
@funindex \appendToTag
safe bets:
@lilypond[verbatim,quote]
-test = { \tag #'here { \tag #'here <<c''>> } }
+music = { \tag #'here { \tag #'here <<c''>> } }
{
\pushToTag #'here c'
\pushToTag #'here e'
- \pushToTag #'here g' \test
+ \pushToTag #'here g' \music
\appendToTag #'here c'
\appendToTag #'here e'
- \appendToTag #'here g' \test
+ \appendToTag #'here g' \music
}
@end lilypond
UTF-8. The easiest way to enter such text is by using a
Unicode-aware editor and saving the file with UTF-8 encoding. Most
popular modern editors have UTF-8 support, for example, vim, Emacs,
-jEdit, and GEdit do. All MS Windows systems later than NT use
+jEdit, and Gedit do. All MS Windows systems later than NT use
Unicode as their native character encoding, so even Notepad can
edit and save a file in UTF-8 format. A more functional
alternative for Windows is BabelPad.
Here is an example showing Cyrillic, Hebrew and Portuguese
text:
+@c NOTE: No verbatim in the following example as the code does not
+@c display correctly in PDF Font settings for Cyrillic and Hebrew
+
@lilypond[quote]
-%c No verbatim here as the code does not display correctly in PDF
+% Linux Libertine fonts contain Cyrillic and Hebrew glyphs.
+\paper {
+ #(define fonts
+ (set-global-fonts
+ #:roman "Linux Libertine O,serif"
+ #:sans "Linux Biolinum O,sans-serif"
+ #:typewriter "Linux Libertine Mono O,monospace"
+ ))
+}
+
% Cyrillic
bulgarian = \lyricmode {
Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
It is possible to output one or more fragments of a score by defining
the explicit location of the music to be extracted within the
-@code{\layout} block of the the input file using the @code{clip-regions}
+@code{\layout} block of the input file using the @code{clip-regions}
function, and then running LilyPond with the @option{-dclip-systems}
option;
file, but other formats such as @code{PDF} or @code{PNG} can also be
created if required. The extracted music is output as if had been
literally @q{cut} from the original printed score so if a fragment runs
-over one or more lines, a separate ouput file for each line will be
+over one or more lines, a separate output file for each line will be
generated.
@seealso
Notation Reference:
@ref{The layout block}.
-Application Usage
+Application Usage:
@rprogram{Command-line usage}.
(assuming 4/4 time signature) of every @code{\score} in the input
file. For longer pieces, rendering only a small part is often an order
of magnitude quicker than rendering it completely. When working on the
-beginning of a score you have already typeset (e.g. to add a new part),
+beginning of a score you have already typeset (e.g., to add a new part),
the @code{showFirstLength} property may be useful as well.
Skipping parts of a score can be controlled in a more fine-grained
it skips all events, including tempo and instrument changes. You have
been warned.
-@lilypond[quote,relative=2,ragged-right,verbatim]
-c8 d
-\set Score.skipTypesetting = ##t
-e8 e e e e e e e
-\set Score.skipTypesetting = ##f
-c8 d b bes a g c2
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c1
+ \set Score.skipTypesetting = ##t
+ \tempo 4 = 80
+ c4 c c c
+ \set Score.skipTypesetting = ##f
+ d4 d d d
+}
@end lilypond
In polyphonic music, @code{Score.skipTypesetting} will affect all
@cindex EPS output
The default output formats for the printed score are Portable
-Document Format (PDF) and PostScript (PS). Scalable Vector
-Graphics (SVG), Encapsulated PostScript (EPS) and Portable
-Network Graphics (PNG) output formats are also available through
-command line options, see
-@rprogram{Basic command line options for LilyPond}.
+Document Format (PDF) and PostScript (PS). Portable
+Network Graphics (PNG), Scalable Vector Graphics (SVG) and Encapsulated
+PostScript (EPS) output is available through the command line option,
+see @rprogram{Basic command line options for LilyPond}.
@node Replacing the notation font
* Controlling MIDI dynamics::
* Using MIDI instruments::
* Using repeats with MIDI::
+* MIDI channel mapping::
+* Context properties for MIDI effects::
* Enhancing MIDI output::
@end menu
@q{@code{:}[@var{number}]} value
@end itemize
+Panning, balance, expression, reverb and chorus effects can also be
+controlled by setting context properties,
+see @ref{Context properties for MIDI effects}.
+
When combined with the @file{articulate} script the following,
additional musical notation can be output to MIDI;
@itemize
-@item Appogiaturas. These are made to take half the value of the note
+@item Appoggiaturas. These are made to take half the value of the note
following (without taking dots into account). For example;
@example
@noindent
The c will take the value of a crotchet.
-@item Ornaments (i.e. mordents, trills and turns et al.)
+@item Ornaments (i.e., mordents, trills and turns et al.)
@item Rallentando, accelerando, ritardando and a tempo
@item Slurs, including phrasing slurs
@item Tenuto
@item Glissandi
@item Falls and doits
@item Microtonal chords
-@item Rhythms entered as annotations, e.g. swing
-@item Tempo changes without @code{\tempo} (e.g. entered as annotations)
+@item Rhythms entered as annotations, e.g., swing
+@item Tempo changes without @code{\tempo} (e.g., entered as annotations)
@item Tremolos that @emph{are} entered with a @q{@code{:}[@var{number}]}
value
@end itemize
@}
@end example
-@warning{ A @code{@bs{}score} block that, as well as the music, contains
-only a @code{@bs{}midi} block (i.e. @emph{without} the @code{@bs{}layout}
+@warning{A @code{@bs{}score} block that, as well as the music, contains
+only a @code{@bs{}midi} block (i.e., @emph{without} the @code{@bs{}layout}
block), will only produce MIDI output files. No notation will be
printed.}
This example removes the effect of dynamics from the MIDI output. Note:
LilyPond's translation modules used for sound are called @q{performers}.
-@snippets
-@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{changing-midi-output-to-one-channel-per-voice.ly}
-
@seealso
Learning Manual:
@rlearning{Other sources of information}.
@ref{Repeats}.
+@node MIDI channel mapping
+@subsection MIDI channel mapping
+
+@cindex MIDI Channels
+@cindex MIDI Tracks
+@funindex midiChannelMapping
+
+When generating a MIDI file from a score, LilyPond will automatically
+assign every note in the score to a MIDI channel, the one on which it
+should be played when it is sent to a MIDI device. A MIDI channel has
+a number of controls available to select, for example, the instrument
+to be used to play the notes on that channel, or to request the MIDI
+device to apply various effects to the sound produced on the channel.
+At all times, every control on a MIDI channel can have only a single
+value assigned to it (which can be modified, however, for example,
+to switch to another instrument in the middle of a score).
+
+The MIDI standard supports only 16 channels per MIDI device. This
+limit on the number of channels also limits the number of different
+instruments which can be played at the same time.
+
+LilyPond creates separate MIDI tracks for each staff, (or discrete
+instrument or voice, depending on the value of
+@code{Score.midiChannelMapping}), and also for each lyrics context.
+There is no limit to the number of tracks.
+
+To work around the limited number of MIDI channels, LilyPond supports
+a number of different modes for MIDI channel allocation, selected using
+the @code{Score.midiChannelMapping} context property. In each case,
+if more MIDI channels than the limit are required, the allocated
+channel numbers wrap around back to 0, possibly causing the incorrect
+assignment of instruments to some notes. This context property can be
+set to one of the following values:
+
+@table @var
+
+@item @code{'staff}
+
+Allocate a separate MIDI channel to each staff in the score (this is
+the default). All notes in all voices contained within each staff will
+share the MIDI channel of their enclosing staff, and all are encoded
+in the same MIDI track.
+
+The limit of 16 channels is applied to the total number of staff and
+lyrics contexts, even though MIDI lyrics do not take up a MIDI channel.
+
+@item @code{'instrument}
+
+Allocate a separate MIDI channel to each distinct MIDI instrument
+specified in the score. This means that all the notes played with the
+same MIDI instrument will share the same MIDI channel (and track), even
+if the notes come from different voices or staves.
+
+In this case the lyrics contexts do not count towards the MIDI channel
+limit of 16 (as they will not be assigned to a MIDI instrument), so
+this setting may allow a better allocation of MIDI channels when the
+number of staves and lyrics contexts in a score exceeds 16.
+
+@item @code{'voice}
+
+Allocate a separate MIDI channel to each voice in the score that has a
+unique name among the voices in its enclosing staff. Voices in
+different staves are always assigned separate MIDI channels, but any two
+voices contained within the same staff will share the same MIDI channel
+if they have the same name. Because @code{midiInstrument} and the
+several MIDI controls for effects are properties of the staff context,
+they cannot be set separately for each voice. The first voice will be
+played with the instrument and effects specified for the staff, and
+voices with a different name from the first will be assigned the default
+instrument and effects.
+
+Note: different instruments and/or effects can be assigned to several
+voices on the same staff by moving the @code{Staff_performer} from the
+@code{Staff} to the @code{Voice} context, and leaving
+@code{midiChannelMapping} to default to @code{'staff} or set to
+@code{'instrument}; see the snippet below.
+
+@end table
+
+For example, the default MIDI channel mapping of a score can be changed
+to the @code{'instrument} setting as shown:
+
+@example
+\score @{
+ ...music...
+ \midi @{
+ \context @{
+ \Score
+ midiChannelMapping = #'instrument
+ @}
+ @}
+@}
+@end example
+
+@snippets
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{changing-midi-output-to-one-channel-per-voice.ly}
+
+
+@node Context properties for MIDI effects
+@subsection Context properties for MIDI effects
+
+@cindex Effects in MIDI
+@cindex Pan position in MIDI
+@cindex Stereo balance in MIDI
+@cindex Balance in MIDI
+@cindex Expression in MIDI
+@cindex Reverb in MIDI
+@cindex Chorus level in MIDI
+@funindex midiPanPosition
+@funindex midiBalance
+@funindex midiExpression
+@funindex midiReverbLevel
+@funindex midiChorusLevel
+
+The following context properties can be used to apply various MIDI
+effects to notes played on the MIDI channel associated with the
+current staff, MIDI instrument or voice (depending on the value of the
+@code{Score.midiChannelMapping} context property and the context in
+which the @code{Staff_performer} is located; see
+@ref{MIDI channel mapping}).
+
+Changing these context properties will affect all notes played on the
+channel after the change, however some of the effects may even apply
+also to notes which are already playing (depending on the
+implementation of the MIDI output device).
+
+The following context properties are supported:
+
+@table @var
+
+@item @code{Staff.midiPanPosition}
+
+The pan position controls how the sound on a MIDI channel is
+distributed between left and right stereo outputs. The context
+property accepts a number between -1.0 (@code{#LEFT}) and 1.0
+(@code{#RIGHT}); the value -1.0 will put all sound power to the left
+stereo output (keeping the right output silent), the value 0.0
+(@code{#CENTER}) will distribute the sound evenly between the left and
+right stereo outputs, and the value 1.0 will move all sound to the
+right stereo output. Values between -1.0 and 1.0 can be used to obtain
+mixed distributions between left and right stereo outputs.
+
+@item @code{Staff.midiBalance}
+
+The stereo balance of a MIDI channel. Similarly to the pan position,
+this context property accepts a number between -1.0 (@code{#LEFT}) and
+1.0 (@code{#RIGHT}). It varies the relative volume sent to the two
+stereo speakers without affecting the distribution of the stereo
+signals.
+
+@item @code{Staff.midiExpression}
+
+Expression level (as a fraction of the maximum available level) to
+apply to a MIDI channel. A MIDI device combines the MIDI channel's
+expression level with a voice's current dynamic level (controlled using
+constructs such as @code{\p} or @code{\ff}) to obtain the total volume
+of each note within the voice. The expression control could be used, for
+example, to implement crescendo or decrescendo effects over single
+sustained notes (not supported automatically by LilyPond).
+
+@c Issue 4059 contains an attached snippet which shows how this might
+@c be done, but this is too large and complex for the NR, even as a
+@c referenced snippet. It could be added to the LSR.
+
+The expression level ranges from 0.0 (no expression, meaning zero
+volume) to 1.0 (full expression).
+
+@item @code{Staff.midiReverbLevel}
+
+Reverb level (as a fraction of the maximum available level) to apply
+to a MIDI channel. This property accepts numbers between 0.0 (no
+reverb) and 1.0 (full effect).
+
+@item @code{Staff.midiChorusLevel}
+
+Chorus level (as a fraction of the maximum available level) to apply to
+a MIDI channel. This property accepts numbers between 0.0 (no chorus
+effect) and 1.0 (full effect).
+
+@end table
+
+
+@knownissues
+
+As MIDI files do not contain any actual audio data, changes in these
+context properties translate only to requests for changing MIDI channel
+controls in the outputted MIDI files. Whether a particular MIDI device
+(such as a software MIDI player) can actually handle any of these
+requests in a MIDI file is entirely up to the implementation of the
+device: a device may choose to ignore some or all of these requests.
+Also, how a MIDI device will interpret different values for these
+controls (generally, the MIDI standard fixes the behavior only at the
+endpoints of the value range available for each control), and whether a
+change in the value of a control will affect notes already playing on
+that MIDI channel or not, is also specific to the MIDI device
+implementation.
+
+When generating MIDI files, LilyPond will simply transform the
+fractional values within each range linearly into values in a
+corresponding (7-bit, or 14-bit for MIDI channel controls which support
+fine resolution) integer range (0-127 or 0-32767, respectively),
+rounding fractional values towards the nearest integer away from zero.
+The converted integer values are stored as-is in the generated MIDI
+file. Please consult the documentation of your MIDI device for
+information about how the device interprets these values.
+
+
@node Enhancing MIDI output
@subsection Enhancing MIDI output
@warning{The @file{articulate} script may shorten chords, which might
not be appropriate for some types of instrument, such as organ music.
Notes that do not have any articulations attached to them may also be
-shortened; so to compensate for this, restrict the use of the
-@code{\articulate} function to shorter segments of music or modify the
+shortened; so to allow for this, restrict the use of the
+@code{\articulate} function to shorter segments of music, or modify the
values of the variables defined in the @file{articulate} script to
-compenstate for the note-shortening behavior.}
+compensate for the note-shortening behavior.}
@funindex \void
Note that Lilypond does not just display the music expression, but
also interprets it (since @code{\displayLilyMusic} returns it in
-addition to displaying it). This is convenient since you can just
-insert @code{\displayLilyMusic} into existing music in order to get
-information about it. If you don't actually want Lilypond to
-interpret the displayed music as well as display it, use @code{\void}
-in order to have it ignored:
+addition to displaying it). Just insert @code{\displayLilyMusic} into
+the existing music in order to get information about it.
+
+To interpret and display a music section in the console but, at the same
+time, remove it from the output file use the @code{\void} command.
@example
@{
\void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
+ c1
@}
@end example
projects / lilypond.git / blobdiff