Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.15.17"
@node General input and output
@chapter General input and output
* Working with input files::
* Controlling output::
* MIDI output::
+* Extracting musical information::
@end menu
@section Input structure
The main format of input for LilyPond are text files. By convention,
-these files end with @code{.ly}.
+these files end with @file{.ly}.
@menu
* Structure of a score::
* Multiple scores in a book::
+* Multiple output files from one input file::
+* Output file names::
* File structure::
@end menu
@lilypond[verbatim,quote]
{
- { c'4 c' c' c'}
- { d'4 d' d' d'}
+ { c'4 c' c' c' }
+ { d'4 d' d' d' }
}
@end lilypond
block, and inside or outside the single music expression within a
@code{\score} block.
+Remember that even in a file containing only a @code{\score} block, it
+is implicitly enclosed in a \book block. A \book block in a source
+file produces at least one output file, and by default the name of the
+output file produced is derived from the name of the input file, so
+@file{fandangoforelephants.ly} will produce
+@file{fandangoforelephants.pdf}.
+
+(For more details about @code{\book} blocks, see
+@ref{Multiple scores in a book},
+@ref{Multiple output files from one input file} @ref{File structure}.)
@seealso
Learning Manual:
@funindex \book
-All the movements and texts which appear in the same @code{.ly} file
+All the movements and texts which appear in the same @file{.ly} file
will normally be typeset in the form of a single output file.
@example
@}
@end example
-However, if you want multiple output files from the same @code{.ly}
-file, then you can add multiple @code{\book} blocks, where each such
-@code{\book} block will result in a separate output. If you do not
-specify any @code{\book} block in the file, LilyPond will implicitly
-treat the full file as a single @code{\book} block, see @ref{File
-structure}. One important exception is within lilypond-book documents,
+One important exception is within lilypond-book documents,
where you explicitly have to add a @code{\book} block, otherwise only
the first @code{\score} or @code{\markup} will appear in the output.
@}
@end example
+@node Multiple output files from one input file
+@subsection Multiple output files from one input file
+
+If you want multiple output files from the same @file{.ly} file,
+then you can add multiple @code{\book} blocks, where each
+such \book block will result in a separate output file.
+If you do not specify any @code{\book} block in the
+input file, LilyPond will implicitly treat the whole
+file as a single \book block, see
+@ref{File structure}.
+
+When producing multiple files from a single source file, Lilypond
+ensures that none of the output files from any @code{\book} block
+overwrites the output file produced by a preceding @code{\book} from
+the same input file.
+
+It does this by adding a suffix to the output name for each
+@code{\book} which uses the default output file name derived from the
+input source file.
+
+The default behaviour is to append a version-number suffix for each
+name which may clash, so
+
+@example
+\book @{
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+@end example
+
+in source file @file{eightminiatures.ly}
+will produce
+
+@itemize
+@item
+@file{eightminiatures.pdf},
+@item
+@file{eightminiatures-1.pdf} and
+@item
+@file{eightminiatures-2.pdf}.
+@end itemize
+
+@node Output file names
+@subsection Output file names
+
+@funindex \bookOutputSuffix
+@funindex \bookOutputName
+
+Lilypond provides facilities to allow you to control what file names
+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
+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}
+and @file{eightminiatures-Nocturne.pdf} by adding a
+@code{\bookOutputSuffix} declaration inside each @code{\book} block.
+
+@example
+\book @{
+ \bookOutputSuffix "Romanze"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \bookOutputSuffix "Menuetto"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \bookOutputSuffix "Nocturne"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+@end example
+
+You can also specify a different output filename for @code{book} block,
+by using @code{\bookOutputName} declarations
+
+@example
+\book @{
+ \bookOutputName "Romanze"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \bookOutputName "Menuetto"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+\book @{
+ \bookOutputName "Nocturne"
+ \score @{ @dots{} @}
+ \layout @{ @dots{} @}
+@}
+@end example
+
+The file above will produce these output files:
+
+@itemize
+@item
+@file{Romanze.pdf},
+@item
+@file{Menuetto.pdf} and
+@item
+@file{Nocturne.pdf}.
+@end itemize
+
+
@node File structure
@subsection File structure
@funindex \book
@funindex \bookpart
-A @code{.ly} file may contain any number of toplevel expressions, where a
+A @file{.ly} file may contain any number of toplevel expressions, where a
toplevel expression is one of the following:
-@itemize @bullet
+@itemize
@item
An output definition, such as @code{\paper}, @code{\midi}, and
@code{\layout}. Such a definition at the toplevel changes the default
toplevel scores, and combined as a single @code{\book}.
This behavior can be changed by setting the variable
@code{toplevel-score-handler} at toplevel. The default handler is
-defined in the init file @file{../@/scm/@/lily@/.scm}.
+defined in the init file @file{../scm/lily.scm}.
@item
A @code{\book} block logically combines multiple movements
are a number of @code{\score}s, one output file will be created
for each @code{\book} block, in which all corresponding movements
are concatenated. The only reason to explicitly specify
-@code{\book} blocks in a @code{.ly} file is if you wish to create
+@code{\book} blocks in a @file{.ly} file is if you wish to create
multiple output files from a single input file. One exception is
within lilypond-book documents, where you explicitly have to add
a @code{\book} block if you want more than a single @code{\score}
or @code{\markup} in the same example. This behavior can be
changed by setting the variable @code{toplevel-book-handler} at
toplevel. The default handler is defined in the init file
-@file{../@/scm/@/lily@/.scm}.
+@file{../scm/lily.scm}.
@item
A @code{\bookpart} block. A book may be divided into several parts,
@{ c'4 d' e'2 @}
@}
@}
+ \layout @{ @}
@}
- \layout @{ @}
- \header @{ @}
+ \paper @{ @}
+ \header @{ @}
@}
@end example
This behavior can be changed by setting the variable
@code{toplevel-music-handler} at toplevel. The default handler is
-defined in the init file @file{../@/scm/@/lily@/.scm}.
+defined in the init file @file{../scm/lily.scm}.
@item
A markup text, a verse for example
@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{#} sign.
+expression, i.e. every item that begins with a @code{#}@tie{}sign.
@item To separate all elements of a Scheme expression.
@item In @code{lyricmode} to separate all the terms in both
@code{\override} and @code{\set} commands. In particular, spaces
some pieces include a lot more information.
@menu
-* Creating titles::
-* Custom titles::
+* Creating titles headers and footers::
+* Custom headers footers and titles::
* Reference to page numbers::
* Table of contents::
@end menu
-@node Creating titles
-@subsection Creating titles
-
-Titles are created for each @code{\score} block, as well as for the full
-input file (or @code{\book} block) and book parts (created by
-@code{\bookpart} blocks).
+@node Creating titles headers and footers
+@subsection Creating titles headers and footers
-The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
+@menu
+* Title blocks explained::
+* Default layout of book and score title blocks::
+* Default layout of headers and footers::
+@end menu
-@table @code
-@funindex dedication
-@item dedication
-The dedicatee of the music, centered at the top of the first page.
+@node Title blocks explained
+@unnumberedsubsubsec Title blocks explained
-@funindex title
-@item title
-The title of the music, centered just below the dedication.
+@c TODO: figure out how \bookpart titles work
-@funindex subtitle
-@item subtitle
-Subtitle, centered below the title.
+There are two types of title blocks: the main title block that appears
+above of the first @code{\score} of a book, and individual title
+blocks that appear within each @code{\score} block. Text fields for
+both types are entered using a @code{\header} block.
-@funindex subsubtitle
-@item subsubtitle
-Subsubtitle, centered below the subtitle.
+If the book only has a single score, the @code{\header} block may be
+placed inside or outside of the @code{\score} block.
-@funindex poet
-@item poet
-Name of the poet, flush-left below the subsubtitle.
+@warning{Remember when adding a @bs{}@code{header} block inside a
+@bs{}@code{score} block, that the music expression must come before the
+@bs{}@code{header} block.}
-@funindex instrument
-@item instrument
-Name of the instrument, centered below the subsubtitle. Also
-centered at the top of pages (other than the first page).
+@lilypond[papersize=a5,quote,verbatim,noragged-right]
+\header {
+ title = "SUITE I."
+ composer = "J. S. Bach."
+}
-@funindex composer
-@item composer
-Name of the composer, flush-right below the subsubtitle.
+\score {
+ \new Staff \relative g, {
+ \clef bass
+ \key g \major
+ \repeat unfold 2 { g16( d' b') a b d, b' d, } |
+ \repeat unfold 2 { g,16( e' c') b c e, c' e, } |
+ }
+ \header {
+ piece = "Prélude."
+ }
+}
-@funindex meter
-@item meter
-Meter string, flush-left below the poet.
+\score {
+ \new Staff \relative b {
+ \clef bass
+ \key g \major
+ \partial 16 b16 |
+ <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) |
+ d16( b g fis) g( e d c) b(c d e) fis( g a b) |
+ }
+ \header {
+ piece = "Allemande."
+ }
+}
+@end lilypond
-@funindex arranger
-@item arranger
-Name of the arranger, flush-right below the composer.
+Text fields from the main title block of a book can be displayed in all
+@code{\score} blocks, or manually suppressed:
-@funindex piece
-@item piece
-Name of the piece, flush-left below the meter.
+@lilypond[papersize=a5,quote,verbatim,noragged-right]
+\book {
+ \paper {
+ print-all-headers = ##t
+ }
+ \header {
+ title = "DAS WOHLTEMPERIRTE CLAVIER"
+ subtitle = "TEIL I"
+ % Do not display the tagline for this book
+ tagline = ##f
+ }
+ \markup { \vspace #1 }
+ \score {
+ \new PianoStaff <<
+ \new Staff { s1 }
+ \new Staff { \clef "bass" s1 }
+ >>
+ \header {
+ title = "PRAELUDIUM I"
+ opus = "BWV 846"
+ % Do not display the subtitle for this score
+ subtitle = ##f
+ }
+ }
+ \score {
+ \new PianoStaff <<
+ \new Staff { s1 }
+ \new Staff { \clef "bass" s1 }
+ >>
+ \header {
+ title = "FUGA I"
+ subsubtitle = "A 4 VOCI"
+ opus = "BWV 846"
+ % Do not display the subtitle for this score
+ subtitle = ##f
+ }
+ }
+}
+@end lilypond
-@funindex opus
-@item opus
-Name of the opus, flush-right below the arranger.
+@seealso
+Notation Reference:
+@ref{File structure},
+@ref{Custom layout for title blocks}.
-@cindex page breaks, forcing
-@funindex breakbefore
-@item breakbefore
-This forces the title to start on a new page (set to ##t or ##f).
-@funindex copyright
-@item copyright
-Copyright notice, centered at the bottom of the first page. To
-insert the copyright symbol, see @ref{Text encoding}.
+@node Default layout of book and score title blocks
+@unnumberedsubsubsec Default layout of book and score title blocks
-@funindex tagline
-@item tagline
-Centered at the bottom of the last page.
+The layout and formatting of title blocks are controlled by two
+@code{\paper} variables; @code{bookTitleMarkup} for the main
+@code{\header} title block and @code{scoreTitleMarkup} for individual
+@code{\header} blocks within a @code{\score}.
-@end table
+@lilypond[papersize=a6,quote,verbatim,noragged-right]
+\header {
+ % The following fields are centered
+ dedication = "Dedication"
+ title = "Title"
+ subtitle = "Subtitle"
+ subsubtitle = "Subsubtitle"
+ instrument = "Instrument"
-Here is a demonstration of the fields available. Note that you
-may use any @ref{Formatting text}, commands in the header.
+ % The following fields are left-aligned on the left side
+ poet = "Poet"
+ meter = "Meter"
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\paper {
- line-width = 9.0\cm
- paper-height = 10.0\cm
+ % The following fields are right-aligned on the right side
+ composer = "Composer"
+ arranger = "Arranger"
}
-\book {
+\score {
+ { s1 }
\header {
- dedication = "dedicated to me"
- title = \markup \center-column { "Title first line" "Title second line,
-longer" }
- subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version "
-(lilypond-version))
- poet = "Poet"
- composer = \markup \center-column { "composer" \small "(1847-1973)" }
- texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
-"r" }
- arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
-#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
- instrument = \markup \bold \italic "instrument"
+ % The following fields are placed at opposite ends of the same line
piece = "Piece"
+ opus = "Opus"
}
+}
+@end lilypond
+
+@c Is the bit about \null markups true? -mp
+
+Text fields left unset in a @code{\header} block are replaced with
+@code{\null} markups so that the space is not wasted.
+
+The default settings for @code{scoreTitleMarkup} place the @code{piece}
+and @code{opus} text fields at opposite ends of the same line.
+
+@cindex breakbefore
+Use the @code{breakbefore} variable inside a @code{\header} block
+that is itself in a @code{\score} block, to make the top-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]
+\book {
+ \header {
+ title = "This is my Title"
+ subtitle = "This is my Subtitle"
+ copyright = "This is the bottom of the first page"
+ }
\score {
- { c'1 }
+ \repeat unfold 4 { e'' e'' e'' e'' }
\header {
- piece = "piece1"
- opus = "opus1"
+ piece = "This is the Music"
+ breakbefore = ##t
}
}
- \markup {
- and now...
+}
+@end lilypond
+
+@seealso
+Learning Manual:
+@rlearning{How LilyPond input files work},
+
+Notation Reference:
+@ref{File structure}.
+
+Installed Files:
+@file{ly/titling-init.ly}.
+
+@node Default layout of headers and footers
+@unnumberedsubsubsec Default layout of headers and footers
+
+@emph{Headers} and @emph{footers} are lines of text appearing at
+the top and bottom of pages, separate from the main text of a book.
+They are controlled by the following @code{\paper} variables:
+
+@itemize
+@item @code{oddHeaderMarkup}
+@item @code{evenHeaderMarkup}
+@item @code{oddFooterMarkup}
+@item @code{evenFooterMarkup}
+@end itemize
+
+These markup variables can only access text fields from top-level
+@code{\header} blocks (which apply to all scores in the book) and are
+defined in @file{ly/titling-init.ly}. By default:
+
+@itemize
+
+@item
+page numbers are automatically placed on the top far left (if even) or
+top far right (if odd), starting from the second page.
+
+@item
+the @code{instrument} text field is placed in the center of every
+page, starting from the second page.
+
+@item
+the @code{copyright} text is centered on the bottom of the first page.
+
+@item
+the @code{tagline} is centered on the bottom of the last page, and below
+the @code{copyright} text if there is only a single page.
+
+@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.
+
+@lilypond[papersize=a8landscape,verbatim]
+\book {
+ \header {
+ tagline = "... music notation for Everyone"
}
\score {
- { c'1 }
- \header {
- piece = "piece2"
- opus = "opus2"
+ \relative c' {
+ c4 d e f
}
}
}
@end lilypond
-As demonstrated before, you can use multiple @code{\header} blocks.
-When same fields appear in different blocks, the latter is used.
-Here is a short example.
+To remove the @code{tagline} set the value to @code{##f}.
-@example
-\header @{
- composer = "Composer"
-@}
-\header @{
- piece = "Piece"
-@}
-\score @{
- \new Staff @{ c'4 @}
- \header @{
- piece = "New piece" % overwrite previous one
- @}
-@}
-@end example
-If you define the @code{\header} inside the @code{\score} block, then
-normally only the @code{piece} and @code{opus} headers will be printed.
-Note that the music expression must come before the @code{\header}.
+@node Custom headers footers and titles
+@subsection Custom headers footers and titles
-@lilypond[quote,verbatim,line-width=11.0\cm]
+@c TODO: somewhere put a link to header spacing info
+@c (you'll have to explain it more in NR 4).
+
+@menu
+* Custom text formatting for title blocks::
+* Custom layout for title blocks::
+* Custom layout for headers and footers::
+@end menu
+
+
+@node Custom text formatting for title blocks
+@unnumberedsubsubsec Custom text formatting for title blocks
+
+Standard @code{\markup} commands can be used to customize any header,
+footer and title text within the @code{\header} block.
+
+@lilypond[quote,verbatim,noragged-right]
\score {
- { c'4 }
+ { s1 }
\header {
- title = "title" % not printed
- piece = "piece"
- opus = "opus"
+ piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" }
+ subtitle = \markup { \italic "(Excerpt)" }
}
}
@end lilypond
-@funindex print-all-headers
-@noindent
-You may change this behavior (and print all the headers when defining
-@code{\header} inside @code{\score}) by using
+@seealso
+Notation Reference:
+@ref{Formatting text}.
-@example
-\paper@{
- print-all-headers = ##t
-@}
-@end example
-@cindex copyright
-@cindex tagline
+@node Custom layout for title blocks
+@unnumberedsubsubsec Custom layout for title blocks
-The default footer is empty, except for the first page, where the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
+@code{\markup} commands in the @code{\header} block are useful for
+simple text formatting, but they do not allow precise control over the
+placement of titles. To customize the placement of the text fields,
+use either or both of the following @code{\paper} variables:
-Headers may be completely removed by setting them to false.
+@itemize
+@item @code{bookTitleMarkup}
+@item @code{scoreTitleMarkup}
+@end itemize
+
+These markup variables are discussed in
+@ref{Default layout of book and score title blocks}.
+
+The default settings for @code{scoreTitleMarkup} as defined in
+@file{ly/titling-init.ly} are:
@example
-\header @{
- tagline = ##f
- composer = ##f
+scoreTitleMarkup = \markup @{ \column @{
+ \on-the-fly #print-all-headers @{ \bookTitleMarkup \hspace #1 @}
+ \fill-line @{
+ \fromproperty #'header:piece
+ \fromproperty #'header:opus
+ @}
+@}
@}
@end example
+This places the @code{piece} and @code{opus} text fields at opposite
+ends of the same line:
-@node Custom titles
-@subsection Custom titles
+@lilypond[quote,verbatim,noragged-right]
+\score {
+ { s1 }
+ \header {
+ piece = "PRAELUDIUM I"
+ opus = "BWV 846"
+ }
+}
+@end lilypond
-A more advanced option is to change the definitions of the following
-variables in the @code{\paper} block. The init file
-@file{../@/ly/@/titling@/-init@/.ly} lists the default layout.
+This example redefines @code{scoreTitleMarkup} so that the @code{piece}
+text field is centered and in a large, bold font.
-@table @code
-@funindex bookTitleMarkup
-@item bookTitleMarkup
- This is the title added at the top of the entire output document.
-Typically, it has the composer and the title of the piece
+@lilypond[papersize=a5,quote,verbatim,noragged-right]
+\book {
+ \paper {
+ indent = 0\mm
+ scoreTitleMarkup = \markup {
+ \fill-line {
+ \null
+ \fontsize #4 \bold \fromproperty #'header:piece
+ \fromproperty #'header:opus
+ }
+ }
+ }
+ \header { tagline = ##f }
+ \score {
+ { s1 }
+ \header {
+ piece = "PRAELUDIUM I"
+ opus = "BWV 846"
+ }
+ }
+}
+@end lilypond
-@funindex scoreTitleMarkup
-@item scoreTitleMarkup
- This is the title put over a @code{\score} block. Typically, it has
-the name of the movement (@code{piece} field).
+Text fields normally reserved for the main title block can be included
+in individual score title blocks with the @code{print-all-headers}
+placed inside the @code{\paper} block. A disadvantage of using this
+method is that the text fields that are intended specifically for the
+top-level @code{\header} block need to be manually suppressed in every
+@code{\score} block. See @ref{Title blocks explained}.
-@funindex oddHeaderMarkup
-@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
+To avoid this, add the desired text field to the @code{scoreTitleMarkup}
+definition. In the following example, the @code{composer} text field
+(normally associated with @code{bookTitleMarkup}) is added to
+@code{scoreTitleMarkup}, allowing each score to list a different
+composer:
-@funindex evenHeaderMarkup
-@item evenHeaderMarkup
- This is the page header for even-numbered pages. If unspecified,
- the odd header is used instead.
+@lilypond[papersize=a5,quote,verbatim,noragged-right]
+\book {
+ \paper {
+ indent = 0\mm
+ scoreTitleMarkup = \markup {
+ \fill-line {
+ \null
+ \fontsize #4 \bold \fromproperty #'header:piece
+ \fromproperty #'header:composer
+ }
+ }
+ }
+ \header { tagline = ##f }
+ \score {
+ { s1 }
+ \header {
+ piece = "MENUET"
+ composer = "Christian Petzold"
+ }
+ }
+ \score {
+ { s1 }
+ \header {
+ piece = "RONDEAU"
+ composer = "François Couperin"
+ }
+ }
+}
+@end lilypond
- By default, headers are defined such that the page number is on the
- outside edge, and the instrument is centered.
+It is also possible to create your own custom text fields, and refer to
+them in the markup definition.
-@funindex oddFooterMarkup
-@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
+@lilypond[papersize=a5,quote,verbatim,noragged-right]
+\book {
+ \paper {
+ indent = 0\mm
+ scoreTitleMarkup = \markup {
+ \fill-line {
+ \null
+ \override #`(direction . ,UP) {
+ \dir-column {
+ \center-align \fontsize #-1 \bold
+ \fromproperty #'header:mycustomtext %% User-defined field
+ \center-align \fontsize #4 \bold
+ \fromproperty #'header:piece
+ }
+ }
+ \fromproperty #'header:opus
+ }
+ }
+ }
+ \header { tagline = ##f }
+ \score {
+ { s1 }
+ \header {
+ piece = "FUGA I"
+ mycustomtext = "A 4 VOCI" %% User-defined field
+ opus = "BWV 846"
+ }
+ }
+}
+@end lilypond
-@funindex evenFooterMarkup
-@item evenFooterMarkup
- This is the page footer for even-numbered pages. If unspecified,
- the odd header is used instead.
+@seealso
+Notation Reference:
+@ref{Title blocks explained}.
- By default, the footer has the copyright notice on the first, and
- the tagline on the last page.
-@end table
+@node Custom layout for headers and footers
+@unnumberedsubsubsec Custom layout for headers and footers
-@cindex \paper
-@cindex header
-@cindex footer
-@cindex page layout
-@cindex titles
+@c can make-header and make-footer be removed from
+@c paper-defaults-init.ly? -mp
-The following definition will put the title flush left, and the
-composer flush right on a single line.
+@code{\markup} commands in the @code{\header} block are useful for
+simple text formatting, but they do not allow precise control over the
+placement of headers and footers. To customize the placement of
+the text fields, use either or both of the following @code{\paper}
+variables:
-@verbatim
-\paper {
- bookTitleMarkup = \markup {
- \fill-line {
- \fromproperty #'header:title
- \fromproperty #'header:composer
- }
+@itemize
+@item @code{oddHeaderMarkup}
+@item @code{evenHeaderMarkup}
+@item @code{oddFooterMarkup}
+@item @code{evenFooterMarkup}
+@end itemize
+
+The following example centers page numbers at the bottom of every
+page. First, the default settings for @code{oddHeaderMarkup} and
+@code{evenHeaderMarkup} are removed by defining each as a @emph{null}
+markup. Then, @code{oddFooterMarkup} is redefined with the page
+number centered. Finally, @code{evenFooterMarkup} is given the
+same layout by defining it as @code{\oddFooterMarkup}:
+
+@lilypond[papersize=a8,quote,verbatim,noragged-right]
+\book {
+ \paper {
+ print-page-number = ##t
+ print-first-page-number = ##t
+ oddHeaderMarkup = \markup \null
+ evenHeaderMarkup = \markup \null
+ oddFooterMarkup = \markup {
+ \fill-line {
+ \on-the-fly #print-page-number-check-first
+ \fromproperty #'page:page-number-string
+ }
+ }
+ evenFooterMarkup = \oddFooterMarkup
+ }
+ \score {
+ \new Staff { s1 \break s1 \break s1 }
}
}
-@end verbatim
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Title blocks explained},
+@ref{Default layout of book and score title blocks}.
+
@node Reference to page numbers
@subsection Reference to page numbers
referred to in a markup, to get the number of the page where the marked
point is placed, using the @code{\page-ref} markup command.
-@lilypond[verbatim,line-width=11.0\cm]
+@lilypond[verbatim]
\header { tagline = ##f }
\book {
\label #'firstScore
{
c'1
\pageBreak \mark A \label #'markA
- c'
+ c'1
}
}
-
\markup { The first score begins on page \page-ref #'firstScore "0" "?" }
\markup { Mark A is on page \page-ref #'markA "0" "?" }
}
@node Table of contents
@subsection Table of contents
-A table of contents is included using the @code{\markuplines \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.
@verbatim
-\markuplines \table-of-contents
+\markuplist \table-of-contents
\pageBreak
\tocItem \markup "First score"
\score {
{
- c' % ...
+ c'4 % ...
\tocItem \markup "Some particular point in the first score"
- d' % ...
+ d'4 % ...
}
}
\tocItem \markup "Second score"
\score {
{
- e' % ...
+ e'4 % ...
}
}
@end verbatim
(add-toc-item! 'tocActMarkup text))
\book {
- \markuplines \table-of-contents
+ \markuplist \table-of-contents
\tocAct \markup { Atto Primo }
\tocItem \markup { Coro. Viva il nostro Alcide }
\tocItem \markup { Cesare. Presti omai l'Egizzia terra }
}
@end lilypond
+Dots can be added to fill the line between an item and its page number:
+
+@lilypond[verbatim,quote]
+\header { tagline = ##f }
+\paper {
+ tocItemMarkup = \tocItemWithDotsMarkup
+}
+
+\book {
+ \markuplist \table-of-contents
+ \tocItem \markup { Allegro }
+ \tocItem \markup { Largo }
+ \markup \null
+}
+@end lilypond
+
@seealso
-Init files: @file{../@/ly/@/toc@/-init@/.ly}.
+Init files: @file{../ly/toc-init.ly}.
@predefined
@menu
* Including LilyPond files::
* Different editions from one source::
-* Text encoding::
-* Displaying LilyPond notation::
+* Special characters::
@end menu
@code{\include} statements are not interpreted until they have
been brought into the main file, so the file names they specify
must all be relative to the directory containing the main file,
-not the directory containing the included file. However,
+not the directory containing the included file. However,
this behavior can be changed by passing the option
-@code{-drelative-includes} option at the command line
+@option{-drelative-includes} option at the command line
(or by adding @code{#(ly:set-option 'relative-includes #t)}
-at the top of the main input file). With @code{relative-includes}
+at the top of the main input file). With @code{relative-includes}
set, the path for each @code{\include} command will be taken
-relative to the file containing that command. This behavior is
+relative to the file containing that command. This behavior is
recommended and it will become the default behavior in a future
version of lilypond.
Some simple examples of using @code{\include} are shown in
@rlearning{Scores and parts}.
-
@seealso
Learning Manual:
@rlearning{Other sources of information},
@rlearning{Scores and parts}.
-
@knownissues
-
If an included file is given a name which is the same as one in
LilyPond's installation files, LilyPond's file from the
installation files takes precedence.
-
@node Different editions from one source
@subsection Different editions from one source
-Several mechanisms are available to facilitate the generation
-of different versions of a score from the same music source.
-Variables are perhaps most useful for combining lengthy sections
-of music and/or annotation in various ways, while tags are more
-useful for selecting one from several alternative shorter sections
-of music. Whichever method is used, separating the notation from
-the structure of the score will make it easier to change the
-structure while leaving the notation untouched.
+Several methods can be used to generate different versions of a score
+from the same music source. Variables are perhaps the most useful for
+combining lengthy sections of music and/or annotation. Tags are more
+useful for selecting one section from several alternative shorter
+sections of music, and can also be used for splicing pieces of music
+together at different points.
+
+Whichever method is used, separating the notation from the structure of
+the score will make it easier to change the structure while leaving the
+notation untouched.
@menu
* Using variables::
* Using tags::
+* Using global settings::
@end menu
@node Using variables
Here is an example:
@lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a)}
+sopranoMusic = \relative c'' { a4 b c b8( a) }
altoMusic = \relative g' { e4 e e f }
tenorMusic = \relative c' { c4 b e d8( c) }
bassMusic = \relative c' { a4 gis a d, }
@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}.
@lilypond[verbatim,quote]
music = \relative g' {
g8. c32 d
- \tag #'trills {d8.\trill }
- \tag #'expand {\repeat unfold 3 {e32 d} }
+ \tag #'trills { d8.\trill }
+ \tag #'expand { \repeat unfold 3 { e32 d } }
c32 d
}
@lilypond[verbatim,quote]
music = \relative g' {
g8. c32 d
- \tag #'trills {d8.\trill }
- \tag #'expand {\repeat unfold 3 {e32 d} }
+ \tag #'trills { d8.\trill }
+ \tag #'expand {\repeat unfold 3 { e32 d } }
c32 d
}
@lilypond[quote,verbatim]
music = \relative c'' {
- \tag #'a \tag #'both { a a a a }
- \tag #'b \tag #'both { b b b b }
+ \tag #'a \tag #'both { a4 a a a }
+ \tag #'b \tag #'both { b4 b b b }
}
<<
\keepWithTag #'a \music
@lilypond[verbatim,quote]
music = \relative c'' {
-\tag #'A { a a a a }
-\tag #'B { b b b b }
-\tag #'C { c c c c }
-\tag #'D { d 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
the first filter will remove all tagged sections except the one
named, and the second filter will remove even that tagged section.
+Sometimes you want to splice some music at a particular place in an
+existing music expression. You can use @code{\pushToTag} and
+@code{\appendToTag} for adding material at the front or end of the
+@code{elements} of an existing music construct. Not every music
+construct has @code{elements}, but sequential and simultaneous music are
+safe bets:
+
+@lilypond[verbatim,quote]
+test = { \tag #'here { \tag #'here <<c''>> } }
+
+{
+ \pushToTag #'here c'
+ \pushToTag #'here e'
+ \pushToTag #'here g' \test
+ \appendToTag #'here c'
+ \appendToTag #'here e'
+ \appendToTag #'here g' \test
+}
+@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.
@seealso
Learning Manual:
@end ignore
+@node Using global settings
+@unnumberedsubsubsec Using global settings
+
+@cindex include-settings
+
+Global settings can be included from a separate file:
+
+@example
+lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
+@end example
+
+Groups of settings such as page size, font or type face can be stored
+in separate files. This allows different editions from the same score
+as well as standard settings to be applied to many scores, simply by
+specifying the proper settings file.
+
+This technique also works well with the use of style sheets, as
+discussed in @rlearning{Style sheets}.
+
+@seealso
+Learning Manual:
+@rlearning{Organizing pieces with variables},
+@rlearning{Style sheets}.
+
+Notation Reference:
+@ref{Including LilyPond files}.
+
+@node Special characters
+@subsection Special characters
+
+@cindex special characters
+@cindex non-ASCII characters
+
+@menu
+* Text encoding::
+* Unicode::
+* ASCII aliases::
+@end menu
+
+
@node Text encoding
-@subsection Text encoding
+@unnumberedsubsubsec Text encoding
-@cindex Unicode
@cindex UTF-8
-@cindex non-ASCII characters
LilyPond uses the character repertoire defined by the Unicode
consortium and ISO/IEC 10646. This defines a unique name and
à vo -- cê uma can -- ção legal
}
-\relative {
+\relative c' {
c2 d e f g f e
}
\addlyrics { \bulgarian }
\addlyrics { \portuguese }
@end lilypond
+
+@node Unicode
+@unnumberedsubsubsec Unicode
+
+@cindex Unicode
+
To enter a single character for which the Unicode code point is
known but which is not available in the editor being used, use
either @code{\char ##xhhhh} or @code{\char #dddd} within a
c1 \mark \markup { \char ##x03EE }
c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
}
- \addlyrics { O \markup { \concat{ Ph \char ##x0153 be! } } }
+ \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
}
-\markup { "Copyright 2008--2010" \char ##x00A9 }
+\markup { "Copyright 2008--2011" \char ##x00A9 }
@end lilypond
@cindex copyright sign
@}
@end example
-@node Displaying LilyPond notation
-@subsection Displaying LilyPond notation
-@funindex \displayLilyMusic
-Displaying a music expression in LilyPond notation can be
-done using the music function @code{\displayLilyMusic}. For example,
+@node ASCII aliases
+@unnumberedsubsubsec ASCII aliases
-@example
-@{
- \displayLilyMusic \transpose c a, @{ c e g a bes @}
-@}
-@end example
+A list of ASCII aliases for special characters can be included:
-will display
+@lilypond[quote,verbatim]
+\paper {
+ #(include-special-characters)
+}
-@example
-@{ a, cis e fis g @}
-@end example
+\markup "&flqq; – &OE;uvre incomplète… &frqq;"
-By default, LilyPond will print these messages to the console along
-with all the other messages. To split up these messages and save
-the results of @code{\display@{STUFF@}}, redirect the output to
-a file.
+\score {
+ \new Staff { \repeat unfold 9 a'4 }
+ \addlyrics {
+ This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
+ }
+}
-@c TODO What happens under Windows?
+\markup \column {
+ "The replacement can be disabled:"
+ "– &OE; …"
+ \override #'(replacement-alist . ()) "– &OE; …"
+}
+@end lilypond
-@example
-lilypond file.ly >display.txt
-@end example
+You can also make your own aliases, either globally:
+
+@lilypond[quote,verbatim]
+\paper {
+ #(add-text-replacements!
+ '(("100" . "hundred")
+ ("dpi" . "dots per inch")))
+}
+\markup "A 100 dpi."
+@end lilypond
+
+or locally:
+
+@lilypond[quote,verbatim]
+\markup \replace #'(("100" . "hundred")
+ ("dpi" . "dots per inch")) "A 100 dpi."
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{List of special characters}.
+
+Installed Files:
+@file{ly/text-replacements.ly}.
rhythmic-locations to the list.
In order to use this feature, LilyPond must be invoked with
-@code{-dclip-systems}. The clips are output as EPS files, and are
+@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}.
it skips all events, including tempo and instrument changes. You have
been warned.
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
+@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
@end lilypond
In polyphonic music, @code{Score.skipTypesetting} will affect all
@node Replacing the notation font
@subsection Replacing the notation font
-FIXME stub.
+Gonville is an alternative to the Feta font used in LilyPond and can
+be downloaded from:
+@example
+@uref{http://www.chiark.greenend.org.uk/~sgtatham/gonville/ ,http://www.chiark.greenend.org.uk/~sgtatham/gonville/}
+@end example
+
+Here are a few sample bars of music set in Gonville:
+
+@c NOTE: these images are a bit big, but that's important
+@c for the font comparison. -gp
+@sourceimage{Gonville_after,,,}
+
+Here are a few sample bars of music set in LilyPond's Feta font:
+
+@sourceimage{Gonville_before,,,}
+
+@subsubheading Installation Instructions for MacOS
+
+Download and extract the zip file. Copy the @code{lilyfonts}
+directory to @file{@var{SHARE_DIR}/lilypond/current}; for more
+information, see @rlearning{Other sources of information}. Rename the
+existing @code{fonts} directory to @code{fonts_orig} and the
+@code{lilyfonts} directory to @code{fonts}. To revert back to Feta,
+reverse the process.
+
+@seealso
+Learning Manual: @rlearning{Other sources of information}.
+
+@knownissues
+Gonville cannot be used to typeset @q{Ancient Music} notation and it is
+likely newer glyphs in later releases of LilyPond may not exist in the
+Gonville font family. Please refer to the author's website for more
+information on these and other specifics, including licensing of
+Gonville.
@node MIDI output
that are off or accidentals that were mistyped stand out very much
when listening to the MIDI output.
-@c TODO Check this
-The midi output allocates a channel for each staff, and one for global
-settings. Therefore the midi file should not have more than 15 staves
-(or 14 if you do not use drums). Other staves will remain silent.
+Standard MIDI oputput is somewhat crude; optionally, an enhanced and
+more realistic MIDI output is available by means of
+@ref{The Articulate script}.
+
+The MIDI output allocates a channel for each staff, and reserves channel
+10 for drums. There are only 16 MIDI channels per device, so if the
+score contains more than 15 staves, MIDI channels will be reused.
@menu
* Creating MIDI files::
* Repeats in MIDI::
* Controlling MIDI dynamics::
* Percussion in MIDI::
+* The Articulate script::
@end menu
@node Creating MIDI files
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 be also be
+notation is needed too, a @code{\layout} block must also be
present.
@example
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 inital or overall MIDI tempo is described below,
+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,
+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:
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-midi-output-to-one-channel-per-voice.ly}
@knownissues
terminate the (de)crescendo. For example,
@example
-@{ a\< b c d\f @}
+@{ a4\< b c d\f @}
@end example
@noindent
will not work properly but
@example
-@{ a\< b c d\!\f @}
+@{ a4\< b c d\!\f @}
@end example
@noindent
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},
+@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
@end example
MIDI output is created only when a @code{\midi} block is included
-within a score block defined with a @code{\score} command. If it
-is placed within an explicitly instantiated score context (i.e.
-within a @code{\new Score} block) the file will fail. To solve
-this, enclose the @code{\new Score} and the @code{\midi} commands
-in a @code{\score} block.
+within a score block defined with a @code{\score} command.
@example
\score @{
- \new Score @{ @dots{}notes@dots{} @}
+ @{ @dots{}notes@dots{} @}
\midi @{ @}
@}
@end example
@cindex MIDI, chord names
@cindex Rhythms in MIDI
@cindex MIDI, Rhythms
+@cindex Articlulate scripts
+@cindex MIDI, articulations
+@cindex articulations in MIDI
+@cindex trills in MIDI
+@cindex turns in MIDI
+@cindex rallentando in MIDI
+@cindex accelerando in MIDI
@c TODO etc
The following items of notation are reflected in the MIDI output:
@itemize
@item Pitches
-@item Microtones (See @ref{Accidentals}. Rendering needs a
+@item Microtones (See @ref{Accidentals}. Rendering needs a
player that supports pitch bend.)
@item Chords entered as chord names
@item Rhythms entered as note durations, including tuplets
@item Lyrics
@end itemize
+Using @ref{The Articulate script}, a number of items are added to the
+above list:
+
+@itemize
+@item Articulations (slurs, staccato, etc)
+@item Trills, turns
+@item Rallentando and accelerando
+@end itemize
+
+
@unnumberedsubsubsec Unsupported in MIDI
@c TODO index as above
-The following items of notation have no effect on the MIDI output:
+The following items of notation have no effect on the MIDI output,
+unless you use @ref{The Articulate script}:
@itemize
@item Rhythms entered as annotations, e.g. swing
@lilypond[quote,verbatim]
\unfoldRepeats {
- \repeat tremolo 8 {c'32 e' }
+ \repeat tremolo 8 { c'32 e' }
\repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
+ \repeat volta 2 { c'4 d' e' f' }
\alternative {
{ g' a' a' g' }
- {f' e' d' c' }
+ { f' e' d' c' }
}
}
\bar "|."
@end lilypond
+In scores containing multiple voices, unfolding of repeats in MIDI
+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,
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}.
+@file{../scm/midi.scm}, see @rlearning{Other sources of information}.
This set of fractions may be changed or extended by providing a
function which takes a dynamic mark as its argument and returns the
required fraction, and setting
\set Staff.midiInstrument = #"cello"
\set Score.dynamicAbsoluteVolumeFunction = #myDynamics
\new Voice {
- \relative c'' {
- a\pp b c-\rfz
- }
+ \relative c'' {
+ a4\pp b c-\rfz
+ }
}
}
\layout {}
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.
+@file{../scm/midi.scm} and the associated table as a model.
The final example in this section shows how this might be done.
@unnumberedsubsubsec Overall MIDI volume
\time 2/2
\set Staff.midiInstrument = #"flute"
\new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
+ r2 g\mp g fis~
+ fis4 g8 fis e2~
e4 d8 cis d2
}
}
}
}
>>
- \layout { }
+ \layout {}
\midi {
\context {
\Score
\set Staff.midiMinimumVolume = #0.7
\set Staff.midiMaximumVolume = #0.9
\new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
+ r2 g\mp g fis~
+ fis4 g8 fis e2~
e4 d8 cis d2
}
}
}
}
>>
- \layout { }
+ \layout {}
\midi {
\context {
\Score
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}.
+in @file{../scm/midi.scm}.
This basic default equalizer can be replaced by setting
@code{instrumentEqualizer} in the @code{Score} context to a new
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.
+@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.
\set Score.instrumentEqualizer = #my-instrument-equalizer
\set Staff.midiInstrument = #"flute"
\new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
+ r2 g\mp g fis~
+ fis4 g8 fis e2~
e4 d8 cis d2
}
}
@lilypond[verbatim,quote]
\score {
\relative c' {
- c cih cis cisih
- d dih ees eeh
- e eih f fih
- fis fisih g gih
- gis gisih a aih
- bes beh b bih
+ c4 cih cis cisih
+ d4 dih ees eeh
+ e4 eih f fih
+ fis4 fisih g gih
+ gis4 gisih a aih
+ bes4 beh b bih
}
\layout {}
\midi {}
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.
+
+To use the Articulate script, you have to include it at the top of
+your input file,
+
+@example
+\include "articulate.ly"
+@end example
+
+and in the @code{\score} section do
+
+@example
+\unfoldRepeats \articulate <<
+ all the rest of the score...
+>>
+@end example
+
+After altering your input file this way, the visual output is heavily
+altered, but the standard @code{\midi} block will produce a better
+MIDI file.
+
+Although not essential for the Articulate script to work, you may want
+to insert the @code{\unfoldRepeats} command as it appears in the
+example shown above as it enables performing abbreviatures such as
+@notation{trills}.
+
+@knownissues
+
+Articulate shortens chords and some music (esp. organ music) could
+sound worse.
+
+
+@node Extracting musical information
+@section Extracting musical information
+
+In addition to creating graphical output and MIDI, LilyPond can
+display musical information as text.
+
+@menu
+* Displaying LilyPond notation::
+* Displaying scheme music expressions::
+* Saving music events to a file::
+@end menu
+
+@node Displaying LilyPond notation
+@subsection Displaying LilyPond notation
+
+@funindex \displayLilyMusic
+Displaying a music expression in LilyPond notation can be
+done with the music function @code{\displayLilyMusic}. To see the
+output, you will typically want to call LilyPond using the command
+line. For example,
+
+@example
+@{
+ \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
+@}
+@end example
+
+will display
+
+@example
+@{ a,4 cis e fis g @}
+@end example
+
+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@}},
+redirect the output to a file.
+
+@example
+lilypond file.ly >display.txt
+@end example
+
+@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:
+
+@example
+@{
+ \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
+@}
+@end example
+
+
+@node Displaying scheme music expressions
+@subsection Displaying scheme music expressions
+
+See @rextend{Displaying music expressions}.
+
+
+@node Saving music events to a file
+@subsection Saving music events to a file
+
+Music events can be saved to a file on a per-staff basis by
+including a file in your main score.
+
+@example
+\include "event-listener.ly"
+@end example
+
+This will create file(s) called @file{FILENAME-STAFFNAME.notes} or
+@file{FILENAME-unnamed-staff.notes} for each staff. Note that if
+you have multiple unnamed staves, the events for all staves will
+be mixed together in the same file. The output looks like this:
+
+@example
+0.000 note 57 4 p-c 2 12
+0.000 dynamic f
+0.250 note 62 4 p-c 7 12
+0.500 note 66 8 p-c 9 12
+0.625 note 69 8 p-c 14 12
+0.750 rest 4
+0.750 breathe
+@end example
+
+The syntax is a tab-delimited line, with two fixed fields on each
+line followed by optional parameters.
+
+@example
+@var{time} @var{type} @var{...params...}
+@end example
+
+This information can easily be read into other programs such as
+python scripts, and can be very useful for researchers wishing to
+perform musical analysis or playback experiments with LilyPond.
+
+
+@knownissues
+Not all lilypond music events are supported by
+@file{event-listener.ly}. It is intended to be a well-crafted
+@qq{proof of concept}. If some events that you want to see are
+not included, copy @file{event-listener.ly} into your lilypond
+directory and modify the file so that it outputs the information
+you want.
projects / lilypond.git / blobdiff