Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.19.2"
@node General input and output
@chapter General input and output
@example
\score @{
-...
+ @dots{}
@}
@end example
Comments are one exception to this general rule. (For others see
@ref{File structure}.) Both single-line comments and comments
-delimited by @code{%@{ .. %@}} may be placed anywhere within an
+delimited by @code{%@{ @dots{} %@}} may be placed anywhere within an
input file. They may be placed inside or outside a @code{\score}
block, and inside or outside the single music expression within a
@code{\score} block.
@example
\score @{
- @var{..music..}
+ @var{@dots{}music@dots{}}
@}
@end example
@example
\markup @{
- @var{..text..}
+ @var{@dots{}text@dots{}}
@}
@end example
@example
\score @{
- @var{..}
+ @var{@dots{}}
@}
\markup @{
- @var{..}
+ @var{@dots{}}
@}
\score @{
- @var{..}
+ @var{@dots{}}
@}
@end example
\header @{ piece = "Romanze" @}
@}
\markup @{
- ..text of second verse..
+ @dots{}text of second verse@dots{}
@}
\markup @{
- ..text of third verse..
+ @dots{}text of third verse@dots{}
@}
\score @{
@dots{}
@example
\book @{
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
@end example
\book @{
\bookOutputSuffix "Romanze"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\bookOutputSuffix "Menuetto"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\bookOutputSuffix "Nocturne"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
@end example
\book @{
\bookOutputName "Romanze"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\bookOutputName "Menuetto"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
\book @{
\bookOutputName "Nocturne"
\score @{ @dots{} @}
- \layout @{ @dots{} @}
+ \paper @{ @dots{} @}
@}
@end example
is entered at the top level the definitions are combined, but in
conflicting situations the later definitions take precedence. For
details of how this affects the @code{\layout} block see
-@ref{The \layout block}.
+@ref{The layout block,,The @code{@bs{}layout} block}.
@item
A direct scheme expression, such as
A single-line comment, introduced by a leading @code{%} sign.
@item
-A multi-line comment delimited by @code{%@{ .. %@}}.
+A multi-line comment delimited by @code{%@{ @dots{} %@}}.
@end itemize
Notation Reference:
@ref{Titles explained},
-@ref{The \layout block}.
+@ref{The layout block,,The @code{@bs{}layout} block}.
@node Titles and headers
Each @code{\book} block in a single input file produces a separate
output file, see @ref{File structure}. Within each output file
-two types of titling areas are provided: @emph{Bookpart Titles} at
-the beginning of each bookpart and @emph{Score Titles} at the
-beginning of each score.
+three types of titling areas are provided: @emph{Book Titles} at the
+beginning of each book, @emph{Bookpart Titles} at the beginning of
+each bookpart and @emph{Score Titles} at the beginning of each score.
Values of titling fields such as @code{title} and @code{composer}
are set in @code{\header} blocks. (For the syntax of @code{\header}
blocks and a complete list of the fields available by default see
-@ref{Default layout of bookpart and score titles}). Both Bookpart
-Titles and Score Titles can contain the same fields, although by
-default the fields in Score Titles are limited to @code{piece} and
-@code{opus}.
+@ref{Default layout of bookpart and score titles}). Book Titles,
+Bookpart Titles and Score Titles can all contain the same fields,
+although by default the fields in Score Titles are limited to
+@code{piece} and @code{opus}.
@code{\header} blocks may be placed in four different places to form
a descending hierarchy of @code{\header} blocks:
@itemize
@item
- A Bookpart Title is derived from fields set at the top of the input
+A Book Title is derived from fields set at the top of the input file,
+modified by fields set in the @code{\book} block. The resulting
+fields are used to print the Book Title for that book, providing that
+there is other material which generates a page at the start of the
+book, before the first bookpart. A single @code{\pageBreak} will
+suffice.
+
+@item
+A Bookpart Title is derived from fields set at the top of the input
file, modified by fields set in the @code{\book} block, and further
modified by fields set in the @code{\bookpart} block. The resulting
values are used to print the Bookpart Title for that bookpart.
This example demonstrates all @code{\header} variables:
-@lilypond[papersize=a7,quote,verbatim,noragged-right]
+@lilypond[papersize=a6landscape,quote,verbatim,noragged-right]
\book {
\header {
% The following fields are centered
@cindex breakbefore
+If a @code{\book} block starts immediately with a @code{\bookpart}
+block, no Book Title will be printed, as there is no page on which
+to print it. If a Book Title is required, begin the @code{\book}
+block with some markup material or a @code{\pageBreak} command.
+
Use the @code{breakbefore} variable inside a @code{\header} block
-that is itself in a @code{\score} block, to make the top-level
+that is itself in a @code{\score} block, to make the higher-level
@code{\header} block titles appear on the first page on their own, with
the music (defined in the @code{\score} block) starting on the next.
-@lilypond[papersize=a8landscape,verbatim,noragged-right]
+@lilypond[papersize=c7landscape,verbatim,noragged-right]
\book {
\header {
title = "This is my Title"
@end itemize
-@lilypond[papersize=a8landscape]
-\book {
- \score {
- \relative c' {
- c4 d e f
- }
- }
-}
-@end lilypond
-
The default tagline can be changed by adding a @code{tagline} in the
top-level @code{\header} block.
{ s1 }
\header {
piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
- subtitle = \markup { \italic "(Excerpt)" }
+ opus = \markup { \italic "BWV 846" }
}
}
@end lilypond
@example
scoreTitleMarkup = \markup @{ \column @{
- \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
+ \on-the-fly \print-all-headers @{ \bookTitleMarkup \hspace #1 @}
\fill-line @{
\fromproperty #'header:piece
\fromproperty #'header:opus
@example
@code{variable} = @code{\markup} @{
- ...
- @code{\on-the-fly} #@var{procedure} @var{markup}
- ...
+ @dots{}
+ @code{\on-the-fly} \@var{procedure} @var{markup}
+ @dots{}
@}
@end example
evenHeaderMarkup = \markup \null
oddFooterMarkup = \markup {
\fill-line {
- \on-the-fly #print-page-number-check-first
+ \on-the-fly \print-page-number-check-first
\fromproperty #'page:page-number-string
}
}
@q{and} operation, for example,
@example
- @code{\on-the-fly #first-page}
- @code{\on-the-fly #last-page}
- @code{@{ \markup ... \fromproperty #'header: ... @}}
+ @code{\on-the-fly \first-page}
+ @code{\on-the-fly \last-page}
+ @code{@{ \markup @dots{} \fromproperty #'header: @dots{} @}}
@end example
determines if the output is a single page.
@table @emph
@item Event-based footnotes
-are attached to a particular event. Examples
-for such events are single notes, notes inside a chord, articulations
-(like beams, slurs, fingering indications, accents, dynamics) and
-lyrics.
-
-@item Time-based footnotes
-are bound to a particular point of time in a
-musical context. Some commands like @code{\time} and @code{\clef}
-don't actually use events for creating objects like time signatures
-and clefs. Neither does a chord create an event of its own: its
-stem or flag is created at the end of a time step (nominally through
-one of the note events inside). A time-based footnote allows
-annotating such layout objects without referring to an event.
+are attached to a particular event. Examples for such events are
+single notes, articulations (like fingering indications, accents,
+dynamics), and post-events (like slurs and manual beams). The
+general form for event-based footnotes is as follows:
-@end table
+@example
+[@var{direction}] \footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
+@end example
-The full form of a footnote command for both Event- and Time-based
-footnotes is
+@item Time-based footnotes
+are bound to a particular point of time in a musical context. Some
+commands like @code{\time} and @code{\clef} don't actually use events
+for creating objects like time signatures and clefs. Neither does a
+chord create an event of its own: its stem or flag is created at the
+end of a time step (nominally through one of the note events inside).
+Exactly which of a chord's multiple note events will be deemed the
+root cause of a stem or flag is undefined. So for annotating those,
+time-based footnotes are preferable as well.
+
+A time-based footnote allows such layout objects to be annotated
+without referring to an event. The general form for Time-based
+footnotes is:
@example
-[@var{direction}] \footnote [@var{mark}] @var{offset} [@var{grob-name}] @var{footnote} @var{music}
+\footnote [@var{mark}] @var{offset} @var{footnote} [@var{Context}].@var{GrobName}
@end example
-The elements are:
+@end table
+
+The elements for both forms are:
@table @var
offsets are taken from the right/top edge, negative values from the
left/bottom edge and zero implies the mark is centered on the edge.
-@item grob-name
-specifies a type of grob to mark (like @samp{#'Flag}). If it is
-given, a grob of that type associated with the referenced @var{music}
-will be used as the reference point. It can be omitted (or replaced
-with @code{\default}) if the footnote mark is to be attached to the
-directly created grob in @var{music}.
+@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
+@code{Voice} context.
+
+@item GrobName
+specifies a type of grob to mark (like @samp{Flag}). If it is
+specified, the footnote is not attached to a music expression in
+particular, but rather to all grobs of the type specified which
+occur at that moment of musical time.
@item footnote
is the markup or string specifying the footnote text to use at the
bottom of the page.
@item music
-is the music event or chord constituent or post-event that is being
-annotated. While it cannot be omitted, it can be replaced by
-@code{\default} in which case the footnote is not attached to a music
-expression in particular, but rather to a moment of time. It is
-mandatory in this case to use the @var{grob-name} argument for
-selecting an affected grob type, like @samp{#'TimeSignature}.
+is the music event or post-event or articulation
+that is being annotated.
@end table
@cindex footnotes, event-based
-The simplest form of event-based footnotes is just
+A footnote may be attached to a layout object directly caused
+by the event corresponding to @var{music} with the syntax:
@example
-\footnote @var{offset} @var{footnote} @var{music}
+\footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
@end example
-This kind of footnote is attached to a layout object directly caused
-by the event corresponding to @var{music}.
-
@lilypond[quote,verbatim,papersize=a8landscape]
\book {
\header { tagline = ##f }
}
@end lilypond
+Marking a @emph{whole} chord with an event-based footnote is not
+possible: a chord, even one containing just a single note, does
+not produce an actual event of its own. However, individual
+notes @emph{inside} of the chord can be marked:
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c'' {
+ \footnote #'(2 . 3) "Does not work" <a-3>2
+ <\footnote #'(-2 . -3) "Does work" a-3>4
+ <a-3 \footnote #'(3 . 1/2) "Also works" c-5>4
+ }
+}
+@end lilypond
+
If the footnote is to be attached to a post-event or articulation
-the @code{\footnote} command must be preceded by a direction
+the @code{\footnote} command @emph{must} be preceded by a direction
indicator, @code{-, _, ^}, and followed by the post-event or
articulation to be annotated as the @var{music} argument. In this
form the @code{\footnote} can be considered to be simply a copy of
-its last argument with a footnote mark attached to it.
+its last argument with a footnote mark attached to it. The syntax
+is:
+
+@example
+@var{direction} \footnote [@var{mark}] @var{offset} @var{footnote} @var{music}
+@end example
@lilypond[quote,verbatim,papersize=a8landscape]
\book {
}
@end lilypond
-Custom marks can be used as alternatives to numerical marks, and the
-annotation line joining the marked object to the mark can be
-suppressed:
+@subsubsubheading Time-based footnotes
+
+@cindex footnotes, time-based
+
+If the layout object being footmarked is @emph{indirectly} caused by
+an event (like an @code{Accidental} or @code{Stem} caused by a
+@code{NoteHead} event), the @var{GrobName} of the layout object
+is required after the footnote text instead of @var{music}:
@lilypond[quote,verbatim,papersize=a8landscape]
\book {
\header { tagline = ##f }
- \relative c' {
- \footnote "*" #'(0.5 . -2) \markup { \italic "* The first note" }
- a'4 b8
- \footnote \markup { \super "$" } #'(0.5 . 1)
- \markup { \super "$" \italic " The second note" }
- e c4
- \once \override Score.FootnoteItem.annotation-line = ##f
- b-\footnote \markup \tiny "+" #'(0.1 . 0.1)
- \markup { \super "+" \italic " Editorial" } \p
+ \relative c'' {
+ \footnote #'(-1 . -3) "A flat" Accidental
+ aes4 c
+ \footnote #'(-1 . 0.5) "Another flat" Accidental
+ ees
+ \footnote #'(1 . -2) "A stem" Stem
+ aes
}
}
@end lilypond
-More examples of custom marks are shown in
-@ref{Footnotes in stand-alone text}.
+Note, however, that when a GrobName is specified, a footnote
+will be attached to all grobs of that type at the current time step:
-Marking an entire chord in this manner is not possible since a
-chord does not produce an event separate from that of its chord
-constituents, but the constituents themselves can be marked.
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c' {
+ \footnote #'(-1 . 3) "A flat" Accidental
+ <ees ges bes>4
+ \footnote #'(2 . 0.5) "Articulation" Script
+ c'->-.
+ }
+}
+@end lilypond
-If the layout object being footmarked is @emph{indirectly} caused by
-an event (like an @code{Accidental} or @code{Stem} caused by a
-@code{NoteHead}), an additional symbol argument, the @var{grob-name},
-is required before the footnote text:
+A note inside of a chord can be given an individual (event-based)
+footnote. A @samp{NoteHead} is the only grob directly caused
+from a chord note, so an event-based footnote command is
+@emph{only} suitable for adding a footnote to the @samp{NoteHead}
+within a chord. All other chord note grobs are indirectly caused.
+The @code{\footnote} command itself offers no syntax for
+specifying @emph{both} a particular grob type @emph{as well as} a
+particular event to attach to. However, one can use a time-based
+@code{\footnote} command for specifying the grob type, and then
+prefix this command with @code{\single} in order to have it
+applied to just the following event:
@lilypond[quote,verbatim,papersize=a8landscape]
\book {
\header { tagline = ##f }
\relative c'' {
- % footnotes may be added to chord constituents
- < \single\footnote #'(-1 . -3) "Another flat" Accidental aes
- c
- \single\footnote #'(-1 . 0.5) "A flat" Accidental ees
+ < \footnote #'(1 . -2) "An A" a
+ \single \footnote #'(-1 . -1) "A sharp" Accidental
+ cis
+ \single \footnote #'(0.5 . 0.5) "A flat" Accidental
+ ees fis
>2
- \single\footnote #'(-1 . 2) "A stem" Stem ees2
}
}
@end lilypond
@warning {When footnotes are attached to several musical elements at
-the same musical moment, the footnotes are numbered from the higher
-to the lower elements as they appear in the printed output, not in
-the order in which they are written in the input stream.}
-
-@subsubsubheading Time-based footnotes
+the same musical moment, as they are in the example above, the
+footnotes are numbered from the higher to the lower elements as they
+appear in the printed output, not in the order in which they are
+written in the input stream.}
-@cindex footnotes, time-based
-
-Layout objects like clefs and key change signatures are mostly caused
+Layout objects like clefs and key-change signatures are mostly caused
as a consequence of changed properties rather than actual events.
Others, like bar lines and bar numbers, are a direct consequence of
timing. For this reason, footnotes on such objects have to be based
such per-chord features are nominally assigned to @emph{one} event
inside the chord, relying on a particular choice would be imprudent.
-A time-based footnote is written in the same manner as an event-based
-footnote, except that @code{\default} is used in place of music
-indicating an event. The layout object in question should always be
-explicitly specified for time-based footnotes to avoid getting marks
-on unexpected objects.
+The layout object in question must always be explicitly specified
+for time-based footnotes, and the appropriate context must be
+specified if the grob is created in a context other than the bottom
+context.
@lilypond[quote,verbatim,papersize=a8landscape]
\book {
\footnote #'(-0.5 . 1) "Bar line" Staff.BarLine
q q
\footnote #'(0.5 . -1) "Key change" Staff.KeySignature
- \key c\minor
+ \key c \minor
q
}
}
@end lilypond
+Custom marks can be used as alternatives to numerical marks, and the
+annotation line joining the marked object to the mark can be
+suppressed:
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c' {
+ \footnote "*" #'(0.5 . -2) \markup { \italic "* The first note" } a'4
+ b8
+ \footnote \markup { \super "$" } #'(0.5 . 1)
+ \markup { \super "$" \italic " The second note" } e
+ c4
+ \once \override Score.FootnoteItem.annotation-line = ##f
+ b-\footnote \markup \tiny "+" #'(0.1 . 0.1)
+ \markup { \super "+" \italic " Editorial" } \p
+ }
+}
+@end lilypond
+
+More examples of custom marks are shown in
+@ref{Footnotes in stand-alone text}.
+
@node Footnotes in stand-alone text
@unnumberedsubsubsec Footnotes in stand-alone text
The syntax of a footnote in stand-alone text with automatic marks is
@example
-\markup @{ ... \auto-footnote @var{text} @var{footnote} ... @}
+\markup @{ @dots{} \auto-footnote @var{text} @var{footnote} @dots{} @}
@end example
The elements are:
The syntax of a footnote in stand-alone text with custom marks is
@example
-\markup @{ ... \footnote @var{mark} @var{footnote} ... @}
+\markup @{ @dots{} \footnote @var{mark} @var{footnote} @dots{} @}
@end example
The elements are:
@rinternals{Footnote_engraver}.
@knownissues
-Multiple footnotes for the same page can only be stacked, one on top
-of the other; they cannot be printed on the same line.
+Multiple footnotes for the same page can only be stacked, one above
+the other; they cannot be printed on the same line.
Footnotes cannot be attached to @code{MultiMeasureRests} or
-automatic beams and footnote marks may collide with staves,
-@code{\markup} objects, other footnote marks and annotation lines.
+automatic beams or lyrics.
+
+Footnote marks may collide with staves, @code{\markup} objects, other
+footnote marks and annotation lines.
@node Reference to page numbers
@example
\include "parts/VI.ly"
\include "parts/VII.ly"
-... etc
+@dots{} etc
@end example
Files which are to be included can also contain @code{\include}
libA.ly
A1.ly
A2.ly
- ...
+ @dots{}
@end example
@noindent
#(ly:set-option 'relative-includes #t)
\include "A1.ly"
\include "A2.ly"
-...
+@dots{}
% return to default setting
#(ly:set-option 'relative-includes #f)
@end example
@example
\include "VI.ly"
\include "VII.ly"
-... etc
+@dots{} etc
@end example
Files which are to be included in many scores may be placed in
@funindex \tag
@funindex \keepWithTag
@funindex \removeWithTag
-@funindex \pushToTag
-@funindex \appendToTag
@cindex tag
@cindex keep tagged music
@cindex remove tagged music
-@cindex splice into tagged music
The @code{\tag #'@var{partA}} command marks a music expression
with the name @var{partA}.
@headitem Filter
@tab Result
@item
-Tagged music preceded by @code{\keepWithTag #'@var{name}}
- @tab Untagged music and music tagged with @var{name} is included;
- music tagged with any other tag name is excluded.
+Tagged music preceded by @code{\keepWithTag #'@var{name}} or
+ @code{\keepWithTag #'(@var{name1} @var{name2}@dots{})}
+@tab Untagged music and music tagged with any of the given tag
+ names is included;
+ music tagged with any other tag name is excluded.
@item
-Tagged music preceded by @code{\removeWithTag #'@var{name}}
-@tab Untagged music and music tagged with any tag name other than
- @var{name} is included; music tagged with @var{name} is
+Tagged music preceded by @code{\removeWithTag #'@var{name}} or
+ @code{\removeWithTag #'(@var{name1} @var{name2}@dots{})}
+@tab Untagged music and music not tagged with any of the given tag names
+ is included; music tagged with any of the given tag names is
excluded.
@item
Tagged music not preceded by either @code{\keepWithTag} or
@end multitable
The arguments of the @code{\tag}, @code{\keepWithTag} and
-@code{\removeWithTag} commands should be a symbol
-(such as @code{#'score} or @code{#'part}), followed
-by a music expression.
+@code{\removeWithTag} commands should be a symbol or list of
+symbols (such as @code{#'score} or @code{#'(violinI violinII}),
+followed by a music expression. If @emph{and only if} the symbols
+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
+be written @code{\tag violinI.violinII}. The same applies to
+@code{\keepWithTag} and @code{\removeWithTag}.
In the following example, we see two versions of a piece of music,
one showing trills with the usual notation, and one with trills
@end example
Multiple tags may be placed on expressions with multiple
-@code{\tag} entries:
+@code{\tag} entries, or by combining multiple tags into one symbol
+list:
@lilypond[quote,verbatim]
music = \relative c'' {
\tag #'a \tag #'both { a4 a a a }
- \tag #'b \tag #'both { b4 b b b }
+ \tag #'(b both) { b4 b b b }
}
<<
\keepWithTag #'a \music
@end lilypond
Multiple @code{\removeWithTag} filters may be applied to a single
-music expression to remove several differently named tagged sections:
+music expression to remove several differently named tagged
+sections. Alternatively, you can use a single
+@code{\removeWithTag} with a list of tags.
@lilypond[verbatim,quote]
music = \relative c'' {
-\tag #'A { a4 a a a }
-\tag #'B { b4 b b b }
-\tag #'C { c4 c c c }
-\tag #'D { d4 d d d }
+ \tag #'A { a4 a a a }
+ \tag #'B { b4 b b b }
+ \tag #'C { c4 c c c }
+ \tag #'D { d4 d d d }
}
-{
-\removeWithTag #'B
-\removeWithTag #'C
-\music
+\new Voice {
+ \removeWithTag #'B
+ \removeWithTag #'C
+ \music
+ \removeWithTag #'(B C)
+ \music
}
@end lilypond
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.
+
+@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:
+
+@example
+\tagGroup #'(violinI violinII viola cello)
+@end example
+
+declares the respective tags as belonging to one 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.
+
+To any @code{\keepWithTag} command, only tags from the tag groups
+of the tags given in the command are visible.
+
+Tags cannot be members of more than one tag group.
+
+@funindex \pushToTag
+@funindex \appendToTag
+@cindex splice into tagged music
Sometimes you want to splice some music at a particular place in an
existing music expression. You can use @code{\pushToTag} and
@end lilypond
Both commands get a tag, the material to splice in at every occurence of
-the tag, and the tagged expression. The commands make sure to
-copy everything that they change so that the original @code{\test}
-retains its meaning.
+the tag, and the tagged expression.
@seealso
Learning Manual:
@ref{Automatic part combining},
@ref{Including LilyPond files}.
-@ignore
-@c This warning is more general than this placement implies.
-@c Rests are not merged whether or not they come from tagged sections.
-@c Should be deleted? -td
-
@knownissues
-Multiple rests are not merged if you create a score with more
-than one tagged section at the same place.
-
-@end ignore
+Calling @code{\relative} on a music expression obtained by filtering
+music through @code{\keepWithTag} or @code{\removeWithTag} might cause
+the octave relations to change, as only the pitches actually
+remaining in the filtered expression will be considered. Applying
+@code{\relative} first, before @code{\keepWithTag} or
+@code{\removeWithTag}, avoids this danger as @code{\relative} then
+acts on all the pitches as-input.
@node Using global settings
}
\addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
}
-\markup { "Copyright 2008--2012" \char ##x00A9 }
+\markup { "Copyright 2008--2015" \char ##x00A9 }
@end lilypond
@cindex copyright sign
@option{-dclip-systems}. The clips are output as EPS files, and are
converted to PDF and PNG if these formats are switched on as well.
-For more information on output formats, see @rprogram{Invoking lilypond}.
+For more information on output formats, see @rprogram{Invoking LilyPond}.
@node Skipping corrected music
@subsection Skipping corrected music
this correction process, it is possible to skip typesetting of all but
the last few measures. This is achieved by putting
-@verbatim
+@example
showLastLength = R1*5
-\score { ... }
-@end verbatim
+\score @{ @dots{} @}
+@end example
@noindent
in your source file. This will render only the last 5 measures
@c NOTE: these images are a bit big, but that's important
@c for the font comparison. -gp
-@sourceimage{Gonville_after,,,}
+@sourceimage{Gonville_after,15cm,,}
Here are a few sample bars of music set in LilyPond's Feta font:
-@sourceimage{Gonville_before,,,}
+@sourceimage{Gonville_before,15cm,,}
@subsubheading Installation Instructions for MacOS
@cindex Sound
@cindex MIDI
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is a
-series of notes in a number of tracks. It is not an actual
-sound file; you need special software to translate between the
-series of notes and actual sounds.
+MIDI (Musical Instrument Digital Interface) is a standard for connecting
+and controlling digital instruments. A MIDI file is a series of notes
+in a number of tracks. It is not an actual sound file; you need special
+software to translate between the series of notes and actual sounds.
Pieces of music can be converted to MIDI files, so you can listen to
what was entered. This is convenient for checking the music; octaves
-that are off or accidentals that were mistyped stand out very much
-when listening to the MIDI output.
+that are off or accidentals that were mistyped stand out very much when
+listening to the MIDI output.
Standard MIDI output is somewhat crude; optionally, an enhanced and
more realistic MIDI output is available by means of
@menu
* Creating MIDI files::
-* MIDI block::
+* MIDI Instruments::
* What goes into the MIDI output?::
* Repeats in MIDI::
* Controlling MIDI dynamics::
@node Creating MIDI files
@subsection Creating MIDI files
-To create a MIDI output file from a LilyPond input file, add a
-@code{\midi} block to a score, for example,
+@cindex MIDI block
+To create a MIDI output file from a LilyPond file, insert a @code{\midi}
+block inside a @code{\score} block;
@example
\score @{
- @var{...music...}
+ @var{@dots{}music@dots{}}
+ \layout @{ @}
\midi @{ @}
@}
@end example
-If there is a @code{\midi} block in a @code{\score} with no
-@code{\layout} block, only MIDI output will be produced. When
-notation is needed too, a @code{\layout} block must also be
-present.
+If there is @emph{only} a @code{\midi} block in a @code{\score} (i.e.
+without any @code{\layout} block), then @emph{only} MIDI output will be
+produced. No musical notation will be typeset.
@example
\score @{
- @var{...music...}
+ @var{@dots{}music@dots{}}
\midi @{ @}
- \layout @{ @}
@}
@end example
-Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
-and translated correctly to the MIDI output. Dynamic marks,
-crescendi and decrescendi translate into MIDI volume levels.
-Dynamic marks translate to a fixed fraction of the available MIDI
-volume range. Crescendi and decrescendi make the volume vary
-linearly between their two extremes. The effect of dynamic markings
-on the MIDI output can be removed completely, see @ref{MIDI block}.
-
-The initial tempo and later tempo changes can be specified
-with the @code{\tempo} command within the music notation. These
-are reflected in tempo changes in the MIDI output. This command
-will normally result in the metronome mark being printed, but this
-can be suppressed, see @ref{Metronome marks}. An alternative way
-of specifying the initial or overall MIDI tempo is described below,
-see @ref{MIDI block}.
-
-Due to some limitations on Windows, the default extension for
-MIDI files on Windows is @code{.mid}. Other operating systems still
-use the extension @code{.midi}. If a different extension is preferred,
-insert the following line at the top-level of the input file,
-before the start of any @code{\book}, @code{\bookpart} or @code{\score} blocks:
-
-@example
-#(ly:set-option 'midi-extension "midi")
-@end example
+Dynamics, pitches, rhythms, tempo changes and ties are all interpreted
+and translated correctly. Dynamic @q{marks} translate into volume
+levels with a @q{fixed fraction} of the available MIDI volume range;
+crescendi and decrescendi make the volume vary linearly between their
+two extremes.
-The line above will set the default extension for MIDI files to
-@code{.midi}.
+All @code{\tempo} indications, including all subsequent tempo changes,
+specified within the music notation will be reflected in the MIDI
+output.
-Alternatively, this option can also be supplied on the command line:
+Usually it is enough to leave the @code{\midi} block empty, but it can
+contain context rearrangements, new context definitions or code to set
+the values of properties. Here the tempo is set to 72 quarter-note
+beats per minute, but @emph{only} for the MIDI's audio playback.
@example
-lilypond … -dmidi-extension=midi lilyFile.ly
+\score @{
+ @var{@dots{}music@dots{}}
+ \midi @{
+ \tempo 4 = 72
+ @}
+@}
@end example
+Note that @code{\tempo} is actually a command for setting properties
+during the interpretation of the music and in the context of output
+definitions, like a @code{\midi} block, is reinterpreted as if it were a
+context modification.
-@unnumberedsubsubsec Instrument names
-
-@cindex instrument names
-@cindex MIDI, instrument
-@funindex Staff.midiInstrument
-
-The MIDI instrument to be used is specified by setting the
-@code{Staff.midiInstrument} property to the instrument name.
-The name should be chosen from the list in @ref{MIDI instruments}.
+@cindex MIDI context definitions
-@example
-\new Staff @{
- \set Staff.midiInstrument = #"glockenspiel"
- @var{...notes...}
-@}
-@end example
+Context definitions follow the same syntax as those in a @code{\layout}
+block;
@example
-\new Staff \with @{midiInstrument = #"cello"@} @{
- @var{...notes...}
+\score @{
+ @var{@dots{}music@dots{}}
+ \midi @{
+ \context @{
+ \Voice
+ \remove "Dynamic_performer"
+ @}
+ @}
@}
@end example
-If the selected instrument does not exactly match an instrument from
-the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
-instrument is used.
-
+removes the effect of dynamics from the MIDI output. Translation
+modules for sound are called @q{performers}.
@snippets
-
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-midi-output-to-one-channel-per-voice.ly}
-@knownissues
+@seealso
+Learning Manual:
+@rlearning{Other sources of information}.
-@c In 2.11 the following no longer seems to be a problem -td
-@ignore
-Unterminated (de)crescendos will not render properly in the midi file,
-resulting in silent passages of music. The workaround is to explicitly
-terminate the (de)crescendo. For example,
+Notation Reference:
+@ref{Expressive marks},
+@ref{Score layout}.
+
+Installed Files:
+@file{ly/performer-init.ly}.
+
+Snippets:
+@rlsr{MIDI}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+
+@knownissues
+Some operating systems require a @emph{specific} file extension for MIDI
+files. If a different extension is preferred insert the following line
+at the top-level of the input file, before the start of any
+@code{\book}, @code{\bookpart} or @code{\score} blocks;
@example
-@{ a4\< b c d\f @}
+#(ly:set-option 'midi-extension "mid")
@end example
-@noindent
-will not work properly but
+This will set the default extension for MIDI files to @code{.mid}.
+
+Alternatively, an option can be supplied on the command line:
@example
-@{ a4\< b c d\!\f @}
+lilypond -dmidi-extension=mid MyFile.ly
@end example
-@noindent
-will.
-@end ignore
-
Changes in the MIDI volume take place only on starting a note, so
-crescendi and decrescendi cannot affect the volume of a
-single note.
-
-Not all midi players correctly handle tempo changes in the midi
-output. Players that are known to work include MS Windows Media
-Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
+crescendi and decrescendi cannot affect the volume of a single note.
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
+Some MIDI players may not always correctly handle tempo changes in the
+midi output.
-A @code{\midi} block must appear within a score block if MIDI output
-is required. It is analogous to the layout block, but somewhat
-simpler. Often, the @code{\midi} block is left empty, but it
-can contain context rearrangements, new context definitions or code
-to set the values of properties. For example, the following will
-set the initial tempo exported to a MIDI file without causing a tempo
-indication to be printed:
+Changes to @code{midiInstrument} (and other MIDI options) at the
+beginning of a staff may appear twice in the MIDI output.
-@example
-\score @{
- @var{...music...}
- \midi @{
- \tempo 4 = 72
- @}
-@}
-@end example
-In this example the tempo is set to 72 quarter note
-beats per minute. @code{\tempo} is actually a music command for
-setting properties during the interpretation of music: in the
-context of output definitions like a @code{\midi} block, as a matter of
-courtesy those are reinterpreted as if they were context modifications.
+@node MIDI Instruments
+@subsection MIDI Instruments
-@cindex MIDI context definitions
+@cindex instrument names
+@cindex MIDI, instruments
+@funindex Staff.midiInstrument
-Context definitions follow precisely the same syntax as those
-within a @code{\layout} block. Translation modules for sound are
-called performers. The contexts for MIDI output are defined in
-@file{../ly/performer-init.ly},
-see @rlearning{Other sources of information}.
-For example, to remove the effect of dynamics
-from the MIDI output, insert the following lines in the
-@code{\midi@{ @}} block.
+The MIDI instrument to be used is specified by setting the
+@code{Staff.midiInstrument} property to the instrument name. The name
+should be chosen from the list in @ref{MIDI instruments}.
@example
-\midi @{
- ...
- \context @{
- \Voice
- \remove "Dynamic_performer"
- @}
+\new Staff @{
+ \set Staff.midiInstrument = #"glockenspiel"
+ @var{@dots{}notes@dots{}}
@}
@end example
-MIDI output is created only when a @code{\midi} block is included
-within a score block defined with a @code{\score} command.
-
@example
-\score @{
- @{ @dots{}notes@dots{} @}
- \midi @{ @}
+\new Staff \with @{midiInstrument = #"cello"@} @{
+ @var{@dots{}notes@dots{}}
@}
@end example
+If the selected instrument does not exactly match an instrument from
+the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
+instrument is used.
+
+@seealso
+Notation Reference:
+@ref{MIDI instruments}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+
+
@node What goes into the MIDI output?
@subsection What goes into the MIDI output?
@c TODO Check grace notes - timing is suspect?
+@menu
+* Supported in MIDI::
+* Unsupported in MIDI::
+@end menu
+
+@node Supported in MIDI
@unnumberedsubsubsec Supported in MIDI
@cindex Pitches in MIDI
@item Crescendi, decrescendi over multiple notes
@item Tempo changes entered with a tempo marking
@item Lyrics
+@item Simple articulations: staccato, staccatissimo, accent, marcato, portato
+@item @ref{Breath marks}
@end itemize
-Using @ref{The Articulate script}, a number of items are added to the
-above list:
+There is a script that adds the following items; see
+@ref{The Articulate script}:
@itemize
-@item Articulations (slurs, staccato, etc)
-@item Trills, turns
-@item Rallentando and accelerando
+@item Slurs and phrasing slurs
+@item Ornaments (mordents, trills, turns, etc.)
+@item Rallentando, accelerando, ritard, and a tempo
@end itemize
+@seealso
+Notation Reference:
+@ref{Accidentals},
+@ref{Breath marks},
+@ref{Expressive marks}.
+
+Installed Files:
+@file{ly/articulate.ly}.
+
+@node Unsupported in MIDI
@unnumberedsubsubsec Unsupported in MIDI
@c TODO index as above
-The following items of notation have no effect on the MIDI output,
-unless you use @ref{The Articulate script}:
+The following items of notation have no effect on the MIDI output, even
+if you use @ref{The Articulate script}:
@itemize
@item Rhythms entered as annotations, e.g. swing
@item Tempo changes entered as annotations with no tempo marking
-@item Staccato and other articulations and ornamentations
-@item Slurs and Phrasing slurs
+@item Fermatas
+@item Other articulations
@item Crescendi, decrescendi over a single note
@item Tremolos entered with @q{@code{:}[@var{number}]}
@item Figured bass
@item Microtonal chords
+@item Glissandi, falls and doits
@end itemize
+@seealso
+Installed Files:
+@file{ly/articulate.ly}.
+
@node Repeats in MIDI
@subsection Repeats in MIDI
@cindex repeats in MIDI
@funindex \unfoldRepeats
-With a few minor additions, all types of repeats can be represented
-in the MIDI output. This is achieved by applying the
-@code{\unfoldRepeats} music function. This function changes all
-repeats to unfold repeats.
+With a few minor additions, all types of repeats can be represented in
+the MIDI output. This is achieved by applying the @code{\unfoldRepeats}
+music function. This function changes all repeats to unfold repeats.
@lilypond[quote,verbatim]
\unfoldRepeats {
output will only occur correctly if @emph{each} voice contains fully
notated repeat indications.
-When creating a score file using @code{\unfoldRepeats} for MIDI,
-it is necessary to make two @code{\score} blocks: one for MIDI
-(with unfolded repeats) and one for notation (with volta, tremolo,
-and percent repeats). For example,
+When creating a score file using @code{\unfoldRepeats} for MIDI, it is
+necessary to make two @code{\score} blocks: one for MIDI (with unfolded
+repeats) and one for notation (with volta, tremolo, and percent
+repeats):
@example
\score @{
- @var{..music..}
- \layout @{ .. @}
+ @var{@dots{}music@dots{}}
+ \layout @{ @dots{} @}
@}
\score @{
- \unfoldRepeats @var{..music..}
- \midi @{ .. @}
+ \unfoldRepeats @var{@dots{}music@dots{}}
+ \midi @{ @dots{} @}
@}
@end example
+@seealso
+Notation Reference:
+@ref{Score layout}.
+
+Installed Files:
+@file{ly/articulate.ly}.
+
+
@node Controlling MIDI dynamics
@subsection Controlling MIDI dynamics
-MIDI dynamics are implemented by the Dynamic_performer which lives
-by default in the Voice context. It is possible to control the
-overall MIDI volume, the relative volume of dynamic markings and
-the relative volume of different instruments.
+MIDI dynamics are implemented by the Dynamic_performer which lives by
+default in the Voice context. It is possible to control the overall
+MIDI volume, the relative volume of dynamic markings and the relative
+volume of different instruments.
+@menu
+* Dynamic marks::
+* Overall MIDI volume::
+* Equalizing different instruments (i)::
+* Equalizing different instruments (ii)::
+@end menu
+
+@node Dynamic marks
@unnumberedsubsubsec Dynamic marks
-Dynamic marks are translated to a fixed fraction of the available
-MIDI volume range. The default fractions range from 0.25 for
+Dynamic marks are translated to a fixed fraction of the available MIDI
+volume range. The default fractions range from 0.25 for
@notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
marks and the associated fractions can be seen in
@file{../scm/midi.scm}, see @rlearning{Other sources of information}.
required fraction, and setting
@code{Score.dynamicAbsoluteVolumeFunction} to this function.
-For example, if a @notation{rinforzando} dynamic marking,
-@code{\rfz}, is required, this will not by default
-have any effect on the MIDI volume, as this dynamic marking is not
-included in the default set. Similarly, if a new dynamic marking
-has been defined with @code{make-dynamic-script} that too will not
-be included in the default set. The following example shows how the
-MIDI volume for such dynamic markings might be added. The Scheme
-function sets the fraction to 0.9 if a dynamic mark of rfz is
-found, or calls the default function otherwise.
+For example, if a @notation{rinforzando} dynamic marking, @code{\rfz},
+is required, this will not by default have any effect on the MIDI
+volume, as this dynamic marking is not included in the default set.
+Similarly, if a new dynamic marking has been defined with
+@code{make-dynamic-script} that too will not be included in the default
+set. The following example shows how the MIDI volume for such dynamic
+markings might be added. The Scheme function sets the fraction to 0.9
+if a dynamic mark of @code{rfz} is found, or calls the default function
+otherwise.
@lilypond[verbatim,quote]
#(define (myDynamics dynamic)
}
@end lilypond
-Alternatively, if the whole table of fractions needs to be
-redefined, it would be better to use the
-@notation{default-dynamic-absolute-volume} procedure in
-@file{../scm/midi.scm} and the associated table as a model.
+Alternatively, if the whole table of fractions needs to be redefined, it
+would be better to use the @notation{default-dynamic-absolute-volume}
+procedure in @file{../scm/midi.scm} and the associated table as a model.
The final example in this section shows how this might be done.
+@seealso
+Notation Reference:
+@ref{Expressive marks},
+@ref{Score layout}.
+
+Installed Files:
+@file{scm/midi.scm}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+
+
+
+@node Overall MIDI volume
@unnumberedsubsubsec Overall MIDI volume
The minimum and maximum overall volume of MIDI dynamic markings is
controlled by setting the properties @code{midiMinimumVolume} and
-@code{midiMaximumVolume} at the @code{Score} level. These
-properties have an effect only on dynamic marks, so if they
-are to apply from the start of the score a dynamic mark must be
-placed there. The fraction corresponding to each dynamic mark is
-modified with this formula
+@code{midiMaximumVolume} at the @code{Score} level. These properties
+have an effect only at the start of a voice and on dynamic marks. The
+fraction corresponding to each dynamic mark is modified with this
+formula
@example
midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
\set Staff.midiInstrument = #"flute"
\new Voice \relative c''' {
r2 g\mp g fis~
- fis4 g8 fis e2~
- e4 d8 cis d2
+ 4 g8 fis e2~
+ 4 d8 cis d2
}
}
\new Staff {
}
@end lilypond
+@seealso
+Notation Reference:
+@ref{Score layout}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+
+
+
+@node Equalizing different instruments (i)
@unnumberedsubsubsec Equalizing different instruments (i)
-If the minimum and maximum MIDI volume properties are set in
-the @code{Staff} context the relative volumes of the MIDI
-instruments can be controlled. This gives a basic instrument
-equalizer, which can enhance the quality of the MIDI output
-remarkably.
+If the minimum and maximum MIDI volume properties are set in the
+@code{Staff} context the relative volumes of the MIDI instruments can be
+controlled. This gives a basic instrument equalizer, which can enhance
+the quality of the MIDI output remarkably.
-In this example the volume of the clarinet is reduced relative
-to the volume of the flute. There must be a dynamic
-mark on the first note of each instrument for this to work
-correctly.
+In this example the volume of the clarinet is reduced relative to the
+volume of the flute.
@lilypond[verbatim,quote]
\score {
\set Staff.midiMaximumVolume = #0.9
\new Voice \relative c''' {
r2 g\mp g fis~
- fis4 g8 fis e2~
- e4 d8 cis d2
+ 4 g8 fis e2~
+ 4 d8 cis d2
}
}
\new Staff {
}
@end lilypond
+@seealso
+Notation Reference:
+@ref{Score layout}.
+
+
+@node Equalizing different instruments (ii)
@unnumberedsubsubsec Equalizing different instruments (ii)
-If the MIDI minimum and maximum volume properties are not set
-LilyPond will, by default, apply a small degree of equalization
-to a few instruments. The instruments and the equalization
-applied are shown in the table @notation{instrument-equalizer-alist}
-in @file{../scm/midi.scm}.
+If the MIDI minimum and maximum volume properties are not set LilyPond
+will, by default, apply a small degree of equalization to a few
+instruments. The instruments and the equalization applied are shown in
+the table @notation{instrument-equalizer-alist} in
+@file{../scm/midi.scm}.
This basic default equalizer can be replaced by setting
-@code{instrumentEqualizer} in the @code{Score} context to a new
-Scheme procedure which accepts a MIDI instrument name as its only
-argument and returns a pair of fractions giving the minimum and
-maximum volumes to be applied to that instrument. This replacement
-is done in the same way as shown for resetting the
-@code{dynamicAbsoluteVolumeFunction} at the start of this section.
-The default equalizer, @notation{default-instrument-equalizer}, in
-@file{../scm/midi.scm} shows how such a procedure might be written.
-
-The following example sets the relative flute and clarinet volumes
-to the same values as the previous example.
+@code{instrumentEqualizer} in the @code{Score} context to a new Scheme
+procedure which accepts a MIDI instrument name as its only argument and
+returns a pair of fractions giving the minimum and maximum volumes to be
+applied to that instrument. This replacement is done in the same way as
+shown for resetting the @code{dynamicAbsoluteVolumeFunction} at the
+start of this section. The default equalizer,
+@notation{default-instrument-equalizer}, in @file{../scm/midi.scm} shows
+how such a procedure might be written.
+
+The following example sets the relative flute and clarinet volumes to
+the same values as the previous example.
@lilypond[verbatim,quote]
#(define my-instrument-equalizer-alist '())
\set Staff.midiInstrument = #"flute"
\new Voice \relative c''' {
r2 g\mp g fis~
- fis4 g8 fis e2~
- e4 d8 cis d2
+ 4 g8 fis e2~
+ 4 d8 cis d2
}
}
\new Staff {
}
@end lilypond
+@seealso
+Installed Files:
+@file{scm/midi.scm}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+
@ignore
@c Delete when satisfied this is adequately covered elsewhere -td
@subsection Percussion in MIDI
Percussion instruments are generally notated in a @code{DrumStaff}
-context and when notated in this way they are outputted correctly
-to MIDI channel@tie{}10, but some pitched percussion instruments,
-like the xylophone, marimba, vibraphone, timpani, etc., are
-treated like @qq{normal} instruments and music for these instruments
-should be entered in a normal @code{Staff} context, not a
-@code{DrumStaff} context, to obtain the correct MIDI output.
+context and when notated in this way they are outputted correctly to
+MIDI channel@tie{}10, but some pitched percussion instruments, like the
+xylophone, marimba, vibraphone, timpani, etc., are treated like
+@qq{normal} instruments and music for these instruments should be
+entered in a normal @code{Staff} context, not a @code{DrumStaff}
+context, to obtain the correct MIDI output.
Some non-pitched percussion sounds included in the general MIDI
-standard, like melodic tom, taiko drum, synth drum, etc., cannot
-be reached via MIDI channel@tie{}10, so the notation for such
-instruments should also be entered in a normal @code{Staff}
-context, using suitable normal pitches.
+standard, like melodic tom, taiko drum, synth drum, etc., cannot be
+reached via MIDI channel@tie{}10, so the notation for such instruments
+should also be entered in a normal @code{Staff} context, using suitable
+normal pitches.
Many percussion instruments are not included in the general MIDI
-standard, e.g. castanets. The easiest, although unsatisfactory,
-method of producing some MIDI output when writing for such
-instruments is to substitute the nearest sound from the standard
-set.
+standard, e.g. castanets. The easiest, although unsatisfactory, method
+of producing some MIDI output when writing for such instruments is to
+substitute the nearest sound from the standard set.
@c TODO Expand with examples, and any other issues
-@knownissues
+@seealso
+Notation Reference:
+@ref{Percussion},
+@ref{Score layout}.
+
+Internals Reference:
+@rinternals{Dynamic_performer}.
+@knownissues
Because the general MIDI standard does not contain rim shots, the
sidestick is used for this purpose instead.
+
+
@node The Articulate script
@subsection The Articulate script
A more realistic MIDI output is possible when using the Articulate
script. It tries to take articulations (slurs, staccato, etc) into
account, by replacing notes with sequential music of suitably
-time-scaled note plus skip. It also tries to unfold trills turns
-etc., and take rallentando and accelerando into account.
+time-scaled note plus skip. It also tries to unfold trills turns etc.,
+and take rallentando and accelerando into account.
-To use the Articulate script, you have to include it at the top of
-your input file,
+To use the Articulate script, you have to include it at the top of your
+input file,
@example
\include "articulate.ly"
@example
\unfoldRepeats \articulate <<
- all the rest of the score...
+ all the rest of the score@dots{}
>>
@end example
example shown above as it enables performing abbreviatures such as
@notation{trills}.
-@knownissues
+@seealso
+Notation Reference:
+@ref{Score layout}.
+
+Installed Files:
+@file{ly/articulate.ly}.
+
+Internals Reference:
+@rinternals{UnfoldedRepeatedMusic}.
+@knownissues
Articulate shortens chords and some music (esp. organ music) could
sound worse.
By default, LilyPond will print these messages to the console
along with all the other LilyPond compilation messages. To split
-up these messages and save the results of @code{\display@{STUFF@}},
+up these messages and save the results of @code{\displayLilyMusic},
redirect the output to a file.
@example
line followed by optional parameters.
@example
-@var{time} @var{type} @var{...params...}
+@var{time} @var{type} @var{@dots{}params@dots{}}
@end example
This information can easily be read into other programs such as
projects / lilypond.git / blobdiff