-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
-@c A menu is needed before every deeper *section nesting of @node's; run
+@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes
-@node Output formats
-@chapter Output formats
+@node Non-musical notation
+@chapter Non-musical notation
-This is a placeholder until I can write a nice intro for this chapter.
+This section deals with general lilypond issues, rather than
+specific notation.
@menu
-* Paper output::
-* Sound output::
+* Input files::
+* Titles and headers::
+* MIDI output::
+* Displaying LilyPond notation::
+* Skipping corrected music::
@end menu
-@node Paper output
-@section Paper output
-
-The global paper layout is determined by three factors: the page layout, the
-line breaks, and the spacing. These all influence each other. The
-choice of spacing determines how densely each system of music is set.
-This influences where line breaks are chosen, and thus ultimately, how
-many pages a piece of music takes.
-
-Globally spoken, this procedure happens in three steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combinations are tried, and the one with the
-best results -- a layout that has uniform density and requires as
-little stretching or cramping as possible -- is chosen.
-
-After spacing and linebreaking, the systems are distributed across
-pages, taking into account the size of the page, and the size of the
-titles.
-
+@node Input files
+@section Input files
+The main format of input for LilyPond are text files. By convention,
+these files end with ``@code{.ly}''.
@menu
-* Setting global staff size::
-* Paper size::
-* Page formatting::
-* Score layout::
-* Vertical spacing::
-* Vertical spacing of piano staves::
-* Horizontal spacing::
-* Line length::
-* Line breaking::
-* Page breaking::
-* Multiple movements::
-* Creating titles::
+* File structure (introduction)::
+* Multiple scores in a book::
+* Extracting fragments of notation::
+* File structure::
+* A single music expression::
+* Including LilyPond files::
+* Text encoding::
@end menu
-@node Setting global staff size
-@subsection Setting global staff size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{layout} file
+@node File structure (introduction)
+@subsection File structure (introduction)
-To set the global staff size, use @code{set-global-staff-size}.
+A basic example of a lilypond input file is
@example
-#(set-global-staff-size 14)
+\version "2.9.13"
+\score @{
+ @{ @} % this is a single music expression;
+ % all the music goes in here.
+ \header @{ @}
+ \layout @{ @}
+ \midi @{ @}
+@}
@end example
@noindent
-This sets the global default size to 14pt staff height and scales all
-fonts accordingly.
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at a smaller size
-the font becomes heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@quotation
-@multitable @columnfractions .15 .2 .22 .2
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 20
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
-
-@item feta26
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material?
-
-@end multitable
-@end quotation
-
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune the size for individual
-staves. The sizes of individual staves are relative to the global size.
+There are many variations of this basic pattern, but this
+example serves as a useful starting place.
+The major part of this manual is concerned with entering various
+forms of music in LilyPond. However, many music expressions are not
+valid input on their own, for example, a @code{.ly} file containing
+only a note
@example
-
+c'4
@end example
-@seealso
+@noindent
+will result in a parsing error. Instead, music should be inside other
+expressions, which may be put in a file by themselves. Such
+expressions are called toplevel expressions. The next section enumerates
+them all.
-This manual: @ref{Selecting font sizes}.
+@node Multiple scores in a book
+@subsection Multiple scores in a book
-@node Paper size
-@subsection Paper size
+@funindex \book
+@cindex movements, multiple
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
+A document may contain multiple pieces of music and texts. Examples
+of these are an etude book, or an orchestral part with multiple
+movements. Each movement is entered with a @code{\score} block,
-To change the paper size, there are two commands,
@example
-#(set-default-paper-size "a4")
-\paper @{
- #(set-paper-size "a4")
+\score @{
+ @var{..music..}
@}
@end example
-The first command sets the size of all pages. The second command sets the size
-of the pages that the @code{\paper} block applies to -- if the @code{\paper}
-block is at the top of the file, then it will apply to all pages. If the
-@code{\paper} block is inside a @code{\score}, then the paper size will only
-apply to that score.
-
-The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
-@code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
-
-@cindex orientation
-@cindex landscape
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
-and wider line widths will be set correspondingly.
+and texts are entered with a @code{\markup} block,
@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-
-@node Page formatting
-@subsection Page formatting
-
-@cindex page formatting
-@cindex margins
-@cindex header, page
-@cindex footer, page
-
-LilyPond will do page layout, set margins, and add headers and
-footers to each page.
-
-The default layout responds to the following settings in the
-@code{\paper} block.
-
-@cindex @code{\paper}
-
-@quotation
-@table @code
-@item firstpagenumber
-The value of the page number of the first page. Default is@tie{}1.
-
-@item printfirstpagenumber
-If set to true, will print the page number in the first page. Default is
-false.
-
-@item hsize
-The width of the page.
-
-@item vsize
-The height of the page.
-
-@item topmargin
-Margin between header and top of the page.
-
-@item bottommargin
-Margin between footer and bottom of the page.
-
-@item leftmargin
-Margin between the left side of the page and the beginning of the music.
+\markup @{
+ @var{..text..}
+@}
+@end example
-@item linewidth
-The length of the systems.
+@funindex \book
-@item headsep
-Distance between the top-most music system and the page header.
+The movements and texts are combined together in a @code{\book} block,
+like
-@item footsep
-Distance between the bottom-most music system and the page footer.
+@example
+\book @{
+ \score @{
+ @var{..}
+ @}
+ \markup @{
+ @var{..}
+ @}
+ \score @{
+ @var{..}
+ @}
+@}
+@end example
-@item raggedbottom
-If set to true, systems will not be spread across the page.
-This should be set false for pieces that have only two or three
-systems per page, for example orchestral scores.
-
-@item raggedlastbottom
-If set to false, systems will be spread to fill the last page.
+The header for each piece of music can be put inside the @code{\score}
+block. The @code{piece} name from the header will be printed before
+each movement. The title for the entire book can be put inside the
+@code{\book}, but if it is not present, the @code{\header} which is at
+the top of the file is inserted.
-Pieces that amply fill two pages or more should have this set to
-true.
+@example
+\book @{
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Romanze" @}
+ @}
+ \markup @{
+ ..text of second verse..
+ @}
+ \markup @{
+ ..text of third verse..
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
+@}
+@end example
-@item betweensystemspace
-This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system
-and the center of the top staff of the next system.
+@node Extracting fragments of notation
+@subsection Extracting fragments of notation
-Increasing this will provide a more even appearance of the page at the
-cost of using more vertical space.
+It is possible to quote small fragments of a large score directly from
+the output. This can be compared to clipping a piece of a paper score
+with scissors.
-@item betweensystempadding
-This dimension is the minimum amount of white space that will always
-be present between the bottom-most symbol of one system, and the
-top-most of the next system.
+This is done by definining the measures that need to be cut out
+separately. For example, including the following definition
-Increasing this will put systems whose bounding boxes almost touch
-farther apart.
-@item aftertitlespace
-Amount of space between the title and the first system.
+@verbatim
+\layout {
+ clip-regions
+ = #(list
+ (cons
+ (make-rhythmic-location 5 1 2)
+ (make-rhythmic-location 7 3 4)))
+}
+@end verbatim
-@item beforetitlespace
-Amount of space between the last system of the previous piece and the
-title of the next.
+@noindent
+will extract a fragment starting halfway the fifth measure, ending in
+the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
+in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
-@item betweentitlespace
-Amount of space between consecutive titles (e.g., the title of the
-book and the title of a piece).
+More clip regions can be defined by adding more pairs of
+rhythmic-locations to the list.
-@item systemSeparatorMarkup
-This contains a markup object, which will be inserted between
-systems. This is often used for orchestral scores.
+In order to use this feature, LilyPond must be invoked with
+@code{-dclip-systems}. The clips are output as EPS files, and are
+converted to PDF and PNG if these formats are switched on as well.
-The markup command @code{\slashSeparator} is provided as a sensible
-default, for example
+For more information on output formats, see @ref{Invoking lilypond}.
-@lilypond[raggedright]
-\paper {
- systemSeparatorMarkup = \slashSeparator
-}
+@seealso
-\relative { c1 \break c1 }
-@end lilypond
+Examples: @inputfileref{input/regression/,clip-systems.ly}
-@end table
-@end quotation
+@node File structure
+@subsection File structure
-Example:
+A @code{.ly} file contains any number of toplevel expressions, where a
+toplevel expression is one of the following
+@itemize @bullet
+@item
+An output definition, such as @code{\paper}, @code{\midi}, and
+@code{\layout}. Such a definition at the toplevel changes the default
+settings for the block entered.
+
+@item
+A direct scheme expression, such as
+@code{#(set-default-paper-size "a7" 'landscape)} or
+@code{#(ly:set-option 'point-and-click #f)}.
+
+@item
+A @code{\header} block. This sets the global header block. This
+is the block containing the definitions for book-wide settings, like
+composer, title, etc.
+
+@item
+A @code{\score} block. This score will be collected with other
+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}.
+
+The @code{\score} must begin with a music expression, and may
+contain only one music expression.
+
+@item
+A @code{\book} block logically combines multiple movements
+(i.e., multiple @code{\score} blocks) in one document. If there are
+a number of @code{\scores}, a single output file will be created
+in which all movements are concatenated.
+
+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}.
+
+@item
+A compound music expression, such as
@example
-\paper@{
- hsize = 2\cm
- topmargin = 3\cm
- bottommargin = 3\cm
- raggedlastbottom = ##t
-@}
+@{ c'4 d' e'2 @}
@end example
-You can also define these values in Scheme. In that case @code{mm},
-@code{in}, @code{pt}, and @code{cm} are variables defined in
-@file{paper-defaults.ly} with values in millimeters. That's why the
-value has to be multiplied in the example
+This will add the piece in a @code{\score} and format it in a
+single book together with all other toplevel @code{\score}s and music
+expressions. In other words, a file containing only the above
+music expression will be translated into
@example
-\paper @{
- #(define bottommargin (* 2 cm))
+\book @{
+ \score @{
+ \new Staff @{
+ \new Voice @{
+ @{ c'4 d' e'2 @}
+ @}
+ @}
+ @}
+ \layout @{ @}
+ \header @{ @}
@}
@end example
-@cindex copyright
-@cindex tagline
-
-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 ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-The header and footer are created by the functions @code{make-footer}
-and @code{make-header}, defined in @code{\paper}. The default
-implementations are in @file{scm/@/page@/-layout@/.scm}.
-
-The page layout itself is done by two functions in the
-@code{\paper} block, @code{page-music-height} and
-@code{page-make-stencil}. The former tells the line-breaking algorithm
-how much space can be spent on a page, the latter creates the actual
-page given the system to put on it.
-
-
-@refbugs
-
-The option rightmargin is defined but doesn't set the right margin
-yet. The value for the right margin has to be defined adjusting the
-values of the leftmargin and linewidth.
-
-The default page header puts the page number and the @code{instrument}
-field from the @code{\header} block on a line.
-
-
-@node Score layout
-@subsection Score layout
-
-@cindex @code{\layout}
-
-While @code{\paper} contains settings that relate to the page formatting
-of the whole document, @code{\layout} contains settings for score-specific
-layout.
+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}.
+@item
+A markup text, a verse for example
@example
-\layout @{
- indent = 2.0\cm
- \context @{ \Staff
- minimumVerticalExtent = #'(-6 . 6
- @}
- \context @{ \Voice
- \override TextScript #'padding = #1.0
- \override Glissando #'thickness = #3
- @}
+\markup @{
+ 2. The first line verse two.
@}
@end example
+Markup texts are rendered above, between or below the scores or music
+expressions, wherever they appear.
-@seealso
-
-This manual: @ref{Changing context default settings}
-
-
-@node Vertical spacing
-@subsection Vertical spacing
-
-@cindex vertical spacing
-@cindex distance between staves
-@cindex staff distance
-@cindex between staves, distance
-@cindex staves per page
-@cindex space between staves
-
-The height of each system is determined automatically. To prevent
-systems from bumping into each other, some minimum distances are set.
-By changing these, you can put staves closer together, and thus put
-more systems onto one page.
-
-Normally staves are stacked vertically. To make staves maintain a
-distance, their vertical size is padded. This is done with the
-property @code{minimumVerticalExtent}. It takes a pair of numbers, so
-if you want to make it smaller than its default @code{#'(-4 . 4)},
-then you could set
-
+@item
+An identifier, such as
@example
-\set Staff.minimumVerticalExtent = #'(-3 . 3)
+foo = @{ c4 d e d @}
@end example
-@noindent
-This sets the vertical size of the current staff to 3 staff spaces on
-either side of the center staff line. The argument of
-@code{minimumVerticalExtent} is interpreted as an interval, where the
-center line is the 0, so the first number is generally negative. The
-staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
+This can be used later on in the file by entering @code{\foo}. The
+name of an identifier should have alphabetic characters only; no
+numbers, underscores or dashes.
+
+@end itemize
-To change the amount of space between systems, use
-@code{betweensystemspace}. A score with only one staff is still
-considered to have systems, so setting @code{betweensystemspace}
-will be much more useful than changing @code{minimumVerticalExtent}.
+The following example shows three things that may be entered at
+toplevel
@example
\layout @{
- betweensystemspace = 10\mm
+ % movements are non-justified by default
+ ragged-right = ##t
@}
-@end example
-
-@seealso
+\header @{
+ title = "Do-re-mi"
+@}
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object.
+@{ c'4 d' e2 @}
+@end example
-@refbugs
-@code{minimumVerticalExtent} is syntactic sugar for setting
-@code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
-current context. It can only be changed score wide.
+At any point in a file, any of the following lexical instructions can
+be entered:
+@itemize @bullet
+@item @code{\version}
+@item @code{\include}
+@item @code{\sourcefilename}
+@item @code{\sourcefileline}
+@end itemize
-@node Vertical spacing of piano staves
-@subsection Vertical spacing of piano staves
+@node A single music expression
+@subsection A single music expression
-The distance between staves of a @internalsref{PianoStaff} cannot be
-computed during formatting. Rather, to make cross-staff beaming work
-correctly, that distance has to be fixed beforehand.
-
-The distance of staves in a @code{PianoStaff} is set with the
-@code{forced-distance} property of the
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}.
+A @code{\score} must contain a single music expression. However,
+this music expression may be of any size. Recall that music
+expressions may be included inside other expressions to form
+larger expressions. All of these examples are single music
+expressions; note the curly braces @{ @} or angle brackets <<
+>> at the beginning and ending of the music.
-It can be adjusted as follows
@example
-\new PianoStaff \with @{
- \override VerticalAlignment #'forced-distance = #7
-@} @{
- ...
-@}
+@{ c'4 c' c' c' @}
@end example
-@noindent
-This would bring the staves together at a distance of 7 staff spaces,
-measured from the center line of each staff.
-
-The difference is demonstrated in the following example,
-@lilypond[quote,verbatim]
-\relative <<
- \new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
- } <<
- \new Staff { c1 }
- \new Staff { c }
- >>
- \new PianoStaff <<
- \new Staff { c }
- \new Staff { c }
- >>
->>
-@end lilypond
-
-
-
-@refbugs
-
-@code{forced-distance} cannot be changed per system.
-
-
-@node Horizontal spacing
-@subsection Horizontal Spacing
-
-The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differring lengths. Longer
-durations get more space, shorter durations get less. The shortest
-durations get a fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
-The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@code{spacing-increment}) of space to the note.
-
-For example, the following piece contains lots of half, quarter, and
-8th notes; the eighth note is followed by 1 note head width (NHW).
-The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
-
-@lilypond[quote,fragment,verbatim,relative=1]
-c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{spacing-increment} is set to 1.2 staff space, which is
-approximately the width of a note head, and
-@code{shortest-duration-space} is set to 2.0, meaning that the
-shortest note gets 2.4 staff space (2.0 times the
-@code{spacing-increment}) of horizontal space. This space is counted
-from the left edge of the symbol, so the shortest notes are generally
-followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32nd note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 1 NHW to every note. To prevent this, the shortest
-duration for spacing is not the shortest note in the score, but rather
-the one which occurs most frequently.
-
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common shortest
-duration is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-an 8th note. The shortest duration is printed when you run
-@code{lilypond} with the @code{--verbose} option.
-
-These durations may also be customized. If you set the
-@code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
-this sets the base duration for spacing. The maximum duration for this
-base (normally an 8th), is set through @code{base-shortest-duration}.
-
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
-
-Notes that are even shorter than the common shortest note are
-followed by a space that is proportional to their duration relative to
-the common shortest note. So if we were to add only a few 16th notes
-to the example above, they would be followed by half a NHW:
-
-@lilypond[quote,fragment,verbatim,relative=2]
-c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-
-In the introduction (see @ref{Engraving}), it was explained that stem
-directions influence spacing. This is controlled with the
-@code{stem-spacing-correction} property in the
-@internalsref{NoteSpacing}, object. These are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated in @internalsref{Staff} context) contains the same property
-for controlling the stem/bar line spacing. The following example shows
-these corrections, once with default settings, and once with
-exaggerated corrections:
-
-@lilypond[quote,raggedright]
+@lilypond[ragged-right,verbatim,quote]
{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
- \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
+ { c'4 c' c' c'}
+ { d'4 d' d' d'}
}
@end lilypond
+@lilypond[ragged-right,verbatim,quote]
+<<
+ \new Staff { c'4 c' c' c' }
+ \new Staff { d'4 d' d' d' }
+>>
+@end lilypond
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
-
-@refbugs
-
-Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) halfway during the
-score, the part containing the longer durations will be spaced too
-widely.
-
-There is no convenient mechanism to manually override spacing. The
-following work-around may be used to insert extra space into a score.
@example
- \once \override Score.SeparationItem #'padding = #1
+@{
+ \new GrandStaff <<
+ \new StaffGroup <<
+ \new Staff @{ \flute @}
+ \new Staff @{ \oboe @}
+ >>
+ \new StaffGroup <<
+ \new Staff @{ \violinI @}
+ \new Staff @{ \violinII @}
+ >>
+ >>
+@}
@end example
-No work-around exists for decreasing the amount of space.
-
-@node Line length
-@subsection Line length
-
-@cindex page breaks
-@cindex breaking pages
-@cindex @code{indent}
-@cindex @code{linewidth}
+@node Including LilyPond files
+@subsection Including LilyPond files
-@c Although linewidth can be set in \layout, it should be set in paper
-@c block, to get page layout right.
-@c Setting indent in \paper block makes not much sense, but it works.
+@funindex \include
+@cindex including files
-@c Bit verbose and vague, use examples?
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\layout} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
+A large project may be split up into separate files. To refer to another
+file, use
-If @code{raggedright} is set to true in the @code{\layout} block, then
-the lines are justified at their natural length. This is useful for
-short fragments, and for checking how tight the natural spacing is.
-
-@cindex page layout
-@cindex vertical spacing
-
-The option @code{raggedlast} is similar to @code{raggedright}, but
-only affects the last line of the piece. No restrictions are put on
-that line. The result is similar to formatting text paragraphs. In a
-paragraph, the last line simply takes its natural length.
-@c Note that for text there are several options for the last line.
-@c While Knuth TeX uses natural length, lead typesetters use the same
-@c stretch as the previous line. eTeX uses \lastlinefit to
-@c interpolate between both these solutions.
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen so
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
@example
-<< \repeat unfold 7 @{
- s1 \noBreak s1 \noBreak
- s1 \noBreak s1 \break @}
- @emph{the real music}
->>
+\include "otherfile.ly"
@end example
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
+The line @code{\include "file.ly"} is equivalent to pasting the contents
+of file.ly into the current file at the place where you have the
+\include. For example, for a large project you might write separate files
+for each instrument part and create a ``full score'' file which brings
+together the individual instrument files.
+
+The initialization of LilyPond is done in a number of files that are
+included by default when you start the program, normally transparent to the
+user. Run lilypond --verbose to see a list of paths and files that Lily
+finds.
+
+Files placed in directory @file{PATH/TO/share/lilypond/VERSION/ly/} (where
+VERSION is in the form ``2.6.1'') are on the path and available to
+@code{\include}. Files in the
+current working directory are available to \include, but a file of the same
+name in LilyPond's installation takes precedence. Files are
+available to \include from directories in the search path specified as an
+option when invoking @code{lilypond --include=DIR} which adds DIR to the
+search path.
+
+The @code{\include} statement can use full path information, but with the Unix
+convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
+if @file{stuff.ly} is located one directory higher than the current working
+directory, use
-@code{\break}, and @code{\noBreak}.
-@cindex @code{\break}
-@cindex @code{\noBreak}
+@example
+\include "../stuff.ly"
+@end example
-@seealso
-Internals: @internalsref{BreakEvent}.
+@node Text encoding
+@subsection Text encoding
+LilyPond uses the Pango library to format multi-lingual texts, and
+does not perform any input-encoding conversions. This means that any
+text, be it title, lyric text, or musical instruction containing
+non-ASCII characters, must be utf-8. The easiest way to enter such text is
+by using a Unicode-aware editor and saving the file with utf-8 encoding. Most
+popular modern editors have utf-8 support, for example, vim, Emacs,
+jEdit, and GEdit do.
-@node Page breaking
-@subsection Page breaking
+@c Currently not working
+@ignore
+Depending on the fonts installed, the following fragment shows Hebrew
+and Cyrillic lyrics,
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
-analogous to @code{\break} and @code{\noBreak}. They should be
-inserted at a bar line. These commands force and forbid a page-break
-from happening. Of course, the @code{\pageBreak} command also forces
-a line break.
+@cindex Cyrillic
+@cindex Hebrew
+@cindex ASCII, non
-Page breaks are computed by the @code{page-breaking} function in the
-@code{\paper} block.
+@li lypondfile[fontload]{utf-8.ly}
-To force a new page for a new piece (in a collection of pieces or a
-piece in several movements), use @code{breakbefore} in the header.
+The @TeX{} backend does not handle encoding specially at all. Strings
+in the input are put in the output as-is. Extents of text items in the
+@TeX{} backend, are determined by reading a file created via the
+@file{texstr} backend,
@example
-\header@{
- breakbefore = ##t
-@}
+lilypond -b texstr input/les-nereides.ly
+latex les-nereides.texstr
@end example
-@refcommands
-
-@cindex @code{\pageBreak}
-@code{\pageBreak}
-@cindex @code{\noPageBreak}
-@code{\noPageBreak}
+The last command produces @file{les-nereides.textmetrics}, which is
+read when you execute
+@example
+lilypond -b tex input/les-nereides.ly
+@end example
-@node Multiple movements
-@subsection Multiple movements
+Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
+suitable LaTeX wrappers to load appropriate La@TeX{} packages for
+interpreting non-ASCII strings.
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Music engraiving by LilyPond
+@end ignore
-A document may contain multiple pieces of music and texts. Examples
-of these are an etude book, or an orchestral part with multiple
-movements. Each movement is entered with a @code{\score} block,
+To use a Unicode escape sequence, use
@example
-\score @{
- @var{..music..}
-@}
+#(ly:export (ly:wide-char->utf-8 #x2014))
@end example
-and texts are entered with a @code{\markup} block,
-@example
-\markup @{
- @var{..text..}
-@}
-@end example
-
-@cindex @code{\book}
+@seealso
-The movements and texts are combined together in a @code{\book} block,
-like
+@inputfileref{input/regression,utf-8.ly}
-@example
-\book @{
- \score @{
- @var{..}
- @}
- \markup @{
- @var{..}
- @}
- \score @{
- @var{..}
- @}
-@}
-@end example
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
+@node Titles and headers
+@section Titles and headers
-@cindex Engraved by LilyPond
-@cindex signature line
+Almost all printed music includes a title and the composer's name;
+some pieces include a lot more information.
-@example
-\book @{
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- @}
- \score @{
- @dots{}
- \header @{ piece = "Romanze" @}
- @}
- \markup @{
- ..text of second verse..
- @}
- \markup @{
- ..text of third verse..
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
+@menu
+* Creating titles::
+* Custom titles::
+@end menu
@node Creating titles
The contents of the titles are taken from the @code{\header} blocks.
The header block for a book supports the following
+
+
@table @code
+@funindex dedication
@item dedication
The dedicatee of the music, centered at the top of the first page.
+@funindex title
@item title
The title of the music, centered just below the dedication.
+@funindex subtitle
@item subtitle
Subtitle, centered below the title.
+@funindex subsubtitle
@item subsubtitle
Subsubtitle, centered below the subtitle.
+@funindex poet
@item poet
Name of the poet, flush-left below the subtitle.
+@funindex composer
@item composer
Name of the composer, flush-right below the subtitle.
+@funindex meter
@item meter
Meter string, flush-left below the poet.
+@funindex opus
@item opus
Name of the opus, flush-right below the composer.
+@funindex arranger
@item arranger
Name of the arranger, flush-right below the opus.
+@funindex instrument
@item instrument
-Name of the instrument, centered below the arranger.
+Name of the instrument, centered below the arranger. Also
+centered at the top of pages (other than the first page).
+@funindex piece
@item piece
Name of the piece, flush-left below the instrument.
@cindex page breaks, forcing
+@funindex breakbefore
@item breakbefore
- This forces the title to start on a new page (set to ##t or ##f).
+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}.
+
+@funindex tagline
+@item tagline
+Centered at the bottom of the last page.
+
@end table
Here is a demonstration of the fields available. Note that you
may use any @ref{Text markup} commands in the header.
-@lilypond[quote,verbatim,linewidth=11.0\cm]
+@lilypond[quote,verbatim,line-width=11.0\cm]
\paper {
- linewidth = 9.0\cm
- vsize = 10.0\cm
+ line-width = 9.0\cm
+ paper-height = 10.0\cm
}
\book {
\header {
dedication = "dedicated to me"
- title = \markup \center-align { "Title first line" "Title second line, longer" }
+ title = \markup \center-align { "Title first line" "Title second line,
+longer" }
subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
+ subsubtitle = #(string-append "subsubtitle LilyPond version "
+(lilypond-version))
poet = "Poet"
composer = \markup \center-align { "composer" \small "(1847-1973)" }
texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
- arranger = "Arranger"
- opus = \markup { \fontsize #8.5 "o" \fontsize #2.5 "p" \fontsize #-2.5 "u" \fontsize #-5.3 "s" \fontsize #7.5 " " }
+ 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"
piece = "Piece"
}
\score {
+ { c'1 }
\header {
piece = "piece1"
- opus = "opus1"
+ opus = "opus1"
}
- { c'1 }
}
\markup {
and now...
}
\score {
+ { c'1 }
\header {
piece = "piece2"
- opus = "opus2"
+ opus = "opus2"
}
- { c'1 }
}
}
@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.
+
+@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}.
+
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\score {
+ { c'4 }
+ \header {
+ title = "title" % not printed
+ piece = "piece"
+ opus = "opus"
+ }
+}
+@end lilypond
+
+@funindex printallheaders
+@noindent
+You may change this behavior (and print all the headers when defining
+@code{\header} inside @code{\score}) by using
+
+@example
+\paper@{
+ printallheaders=##t
+@}
+@end example
+
+@cindex copyright
+@cindex tagline
+
+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 ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
+printed parts are good PR for us, so please leave the tagline if you
+can.}
+
+Headers may be completely removed by setting them to false.
+
+@example
+\header @{
+ tagline = ##f
+ composer = ##f
+@}
+@end example
+
+
+@node Custom titles
+@subsection Custom titles
+
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.
@table @code
+@funindex bookTitleMarkup
@item bookTitleMarkup
This is the title put over an entire @code{\book} block. Typically,
it has the composer and the title of the piece
-
+
+@funindex scoreTitleMarkup
@item scoreTitleMarkup
This is the title put over a @code{\score} block within a
@code{\book}. Typically, it has the name of the movement (@code{piece}
field).
+@funindex oddHeaderMarkup
@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
+ This is the page header for odd-numbered pages.
- @item evenHeaderMarkup
+@funindex evenHeaderMarkup
+@item evenHeaderMarkup
This is the page header for even-numbered pages. If unspecified,
the odd header is used instead.
By default, headers are defined such that the page number is on the
outside edge, and the instrument is centered.
+@funindex oddFooterMarkup
@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
-
+ This is the page footer for odd-numbered pages.
+
+@funindex evenFotterMarkup
@item evenFooterMarkup
This is the page footer for even-numbered pages. If unspecified,
the odd header is used instead.
@verbatim
\paper {
bookTitleMarkup = \markup {
- \fill-line @{
+ \fill-line {
\fromproperty #'header:title
\fromproperty #'header:composer
- @}
+ }
}
}
@end verbatim
-@node Sound output
-@section Sound output
+@node MIDI output
+@section MIDI output
@cindex Sound
@cindex MIDI
@end menu
@node Creating MIDI files
-@subsection Creating MIDI files
+@subsection Creating MIDI files
To create a MIDI from a music piece of music, add a @code{\midi} block
to a score, for example,
-@example
+@example
\score @{
@var{...music...}
- \midi @{ \tempo 4=72 @}
+ \midi @{ @}
@}
-@end example
+@end example
+
+FIXME
The tempo is specified using the @code{\tempo} command. In this
example the tempo of quarter notes is set to 72 beats per minute.
be produced. When notation is needed too, a @code{\layout} block must
be added
-@example
+@example
\score @{
@var{...music...}
- \midi @{ \tempo 4=72 @}
+ \midi @{ @}
\layout @{ @}
@}
-@end example
+@end example
@cindex layout block
For each type of MIDI instrument, a volume range can be defined. This
gives a basic equalizer control, which can enhance the quality of
the MIDI output remarkably. The equalizer can be controlled by
-setting @code{instrumentEqualizer}.
+setting @code{instrumentEqualizer}, or by setting
+@example
+\set Staff.midiMinimumVolume = #0.2
+\set Staff.midiMaximumVolume = #0.8
+@end example
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
+To remove dynamics from the MIDI output, insert the following lines
+in the @code{\midi@{@}} section.
+@example
+\midi @{
+ ...
+ \context @{
+ \Voice
+ \remove "Dynamic_performer"
+ \remove "Span_dynamic_performer"
+ @}
+@}
+@end example
-The MIDI block is analogous to the layout block, but it is somewhat
-simpler. The @code{\midi} block can contain
-@cindex MIDI block
-@itemize @bullet
- @item a @code{\tempo} definition, and
- @item context definitions.
-@end itemize
+@refbugs
+
+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,
+
+@example
+@{ a\< b c d\f @}
+@end example
-A number followed by a period is interpreted as a real number, so
-for setting the tempo for dotted notes, an extra space should be
-inserted, for example
+@noindent
+will not work properly but
@example
-\midi @{ \tempo 4 . = 120 @}
+@{ a\< b c d\!\f @}
@end example
+@noindent
+will.
+
+
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
+
+
+The MIDI block is analogous to the layout block, but it is somewhat
+simpler. The @code{\midi} block is similar to @code{\layout}. It can contain
+context definitions.
+
@cindex context definition
@subsection MIDI instrument names
@cindex instrument names
-@cindex @code{Staff.midiInstrument}
+@funindex Staff.midiInstrument
The MIDI instrument name is set by the @code{Staff.midiInstrument}
property. The instrument name should be chosen from the list in
the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
instrument is used.
+
+@c Yes, this is a cop-out; this info doesn't belong in the Scheme
+@c chapter, but I'm not certain where to stick it.
+@c I think I'll eventually split this chapter into a "paper/layout"
+@c chapter and a "misc issues" chapter. -gp
+@node Displaying LilyPond notation
+@section Displaying LilyPond notation
+
+@funindex \displayLilyMusc
+Displaying a music expression in LilyPond notation can be
+done using the music function @code{\displayLilyMusic}. For example,
+
+@example
+@{
+ \displayLilyMusic \transpose c a, @{ c e g a bes @}
+@}
+@end example
+
+will display
+
+@example
+@{ a, cis e fis g @}
+@end example
+
+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.
+
+@example
+lilypond file.ly >display.txt
+@end example
+
+
+@node Skipping corrected music
+@section Skipping corrected music
+
+
+@funindex skipTypesetting
+@funindex showLastLength
+
+When entering or copying music, usually only the music near the end (where
+you
+are adding notes) is interesting to view and correct. To speed up
+this correction process, it is possible to skip typesetting of all but
+the last few measures. This is achieved by putting
+
+@verbatim
+showLastLength = R1*5
+\score { ... }
+@end verbatim
+
+@noindent
+in your source file. This will render only the last 5 measures
+(assuming 4/4 time signature) of every @code{\score} in the input
+file. For longer pieces, rendering only a small part is often an order
+of magnitude quicker than rendering it completely
+
+Skipping parts of a score can be controlled in a more fine-grained
+fashion with the property @code{Score.skipTypesetting}. When it is
+set, no typesetting is performed at all.
+
+This property is also used to control output to the MIDI file. Note that
+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 }
+@end lilypond
+
+In polyphonic music, @code{Score.skipTypesetting} will affect all
+voices and staves, saving even more time.
+
+
+
projects / lilypond.git / blobdiff