version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Input syntax
@chapter Input syntax
-This section deals with general lilypond input syntax issues,
+This section deals with general LilyPond input syntax issues,
rather than specific notation.
FIXME: don't complain about anything in this chapter. It's still
under heavy development.
-FIXME: add comments
-@verbatim
-% %{
-@end verbatim
-to 3.1.
-
@menu
-* Input files::
-* Common syntax issues TODO name?::
-* Other stuffs TODO move?::
+* Input structure::
+* Titles and headers::
+* Working with input files::
+* Controlling output::
+* MIDI output::
@end menu
-@node Input files
-@section Input files
+@node Input structure
+@section Input structure
The main format of input for LilyPond are text files. By convention,
these files end with @code{.ly}.
@menu
-* File structure::
-* A single music expression::
-* Multiple scores in a book::
-* Extracting fragments of notation::
-* Including LilyPond files::
-* Text encoding::
-* Different editions from one source::
+* Structure of a score::
+* Multiple scores in a book::
+* File structure::
@end menu
+@node Structure of a score
+@subsection Structure of a score
+
+@funindex \score
+
+A @code{\score} block must contain a single music expression
+delimited by curly brackets:
+
+@example
+\score @{
+...
+@}
+@end example
+
+@warning{There must be @strong{only one} outer music expression in
+a @code{\score} block, and it @strong{must} be surrounded by
+curly brackets.}
+
+This single music expression may be of any size, and may contain
+other music expressions to any complexity. All of these examples
+are music expressions:
+
+@example
+@{ c'4 c' c' c' @}
+@end example
+
+@lilypond[verbatim,quote]
+{
+ { c'4 c' c' c'}
+ { d'4 d' d' d'}
+}
+@end lilypond
+
+@lilypond[verbatim,quote]
+<<
+ \new Staff { c'4 c' c' c' }
+ \new Staff { d'4 d' d' d' }
+>>
+@end lilypond
+
+@example
+@{
+ \new GrandStaff <<
+ \new StaffGroup <<
+ \new Staff @{ \flute @}
+ \new Staff @{ \oboe @}
+ >>
+ \new StaffGroup <<
+ \new Staff @{ \violinI @}
+ \new Staff @{ \violinII @}
+ >>
+ >>
+@}
+@end example
+
+Comments are one exception to this general rule. (For others see
+@ref{File structure}.) Both single-line comments and comments
+delimited by @code{%@{ .. %@}} may be placed anywhere within an
+input file. They may be placed inside or outside a @code{\score}
+block, and inside or outside the single music expression within a
+@code{\score} block.
+
+@seealso
+
+Learning Manual:
+
+@rlearning{Working on input files},
+@rlearning{Music expressions explained},
+@rlearning{Score is a (single) compound musical expression}.
+
+
+@node Multiple scores in a book
+@subsection Multiple scores in a book
+
+@funindex \book
+@cindex movements, multiple
+
+A document may contain multiple pieces of music and text. Examples
+of these are an etude book, or an orchestral part with multiple
+movements. Each movement is entered with a @code{\score} block,
+
+@example
+\score @{
+ @var{..music..}
+@}
+@end example
+
+and texts are entered with a @code{\markup} block,
+
+@example
+\markup @{
+ @var{..text..}
+@}
+@end example
+
+@funindex \book
+
+All the movements and texts which appear in the same @code{.ly} file
+will normally be typeset in the form of a single output file.
+
+@example
+\score @{
+ @var{..}
+@}
+\markup @{
+ @var{..}
+@}
+\score @{
+ @var{..}
+@}
+@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,
+where you explicitly have to add a @code{\book} block, otherwise only
+the first @code{\score} or @code{\markup} will appear in the output.
+
+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.
+
+@example
+\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
+
@node File structure
@subsection File structure
-A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expression is one of the following
+@funindex \paper
+@funindex \midi
+@funindex \layout
+@funindex \header
+@funindex \score
+@funindex \book
-@itemize
+A @code{.ly} file may contain 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.
+book-wide settings. If more than one such definition of
+the same type is entered at the top level any definitions in the later
+expressions have precedence.
@item
A direct scheme expression, such as
@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}, 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 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}.
+(i.e., multiple @code{\score} blocks) in one document. If there
+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
+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}.
@item
A compound music expression, such as
@cindex variables
@item
-An variable, such as
+A variable, such as
@example
foo = @{ c4 d e d @}
@end example
@example
\layout @{
- % movements are non-justified by default
+ % Don't justify the output
ragged-right = ##t
@}
@item @code{\include}
@item @code{\sourcefilename}
@item @code{\sourcefileline}
+@item
+A single-line comment, introduced by a leading @code{%} sign.
+
+@item
+A multi-line comment delimited by @code{%@{ .. %@}}.
@end itemize
+@seealso
-@node A single music expression
-@subsection A single music expression
+Learning Manual:
+@rlearning{How LilyPond input files work}.
-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.
+@node Titles and headers
+@section Titles and headers
-@example
-@{ c'4 c' c' c' @}
-@end example
+Almost all printed music includes a title and the composer's name;
+some pieces include a lot more information.
-@lilypond[ragged-right,verbatim,quote]
-{
- { c'4 c' c' c'}
- { d'4 d' d' d'}
-}
-@end lilypond
+@menu
+* Creating titles::
+* Custom titles::
+* Reference to page numbers::
+* Table of contents::
+@end menu
-@lilypond[ragged-right,verbatim,quote]
-<<
- \new Staff { c'4 c' c' c' }
- \new Staff { d'4 d' d' d' }
->>
-@end lilypond
-@example
-@{
- \new GrandStaff <<
- \new StaffGroup <<
- \new Staff @{ \flute @}
- \new Staff @{ \oboe @}
- >>
- \new StaffGroup <<
- \new Staff @{ \violinI @}
- \new Staff @{ \violinII @}
- >>
- >>
-@}
-@end example
+@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).
-@node Multiple scores in a book
-@subsection Multiple scores in a book
+The contents of the titles are taken from the @code{\header} blocks.
+The header block for a book supports the following
-@funindex \book
-@cindex movements, multiple
-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,
+@table @code
+@funindex dedication
+@item dedication
+The dedicatee of the music, centered at the top of the first page.
-@example
-\score @{
- @var{..music..}
-@}
-@end example
+@funindex title
+@item title
+The title of the music, centered just below the dedication.
-and texts are entered with a @code{\markup} block,
+@funindex subtitle
+@item subtitle
+Subtitle, centered below the title.
-@example
-\markup @{
- @var{..text..}
-@}
-@end example
+@funindex subsubtitle
+@item subsubtitle
+Subsubtitle, centered below the subtitle.
-@funindex \book
+@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. 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).
+
+@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.
-All the movements and texts which appear in the same @code{.ly} file
-will normally be typeset in the form of a single output file.
+@end table
+
+Here is a demonstration of the fields available. Note that you
+may use any @ref{Formatting text}, commands in the header.
+
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\paper {
+ 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" }
+ subtitle = "the subtitle,"
+ 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 = \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"
+ }
+ }
+ \markup {
+ and now...
+ }
+ \score {
+ { c'1 }
+ \header {
+ piece = "piece2"
+ opus = "opus2"
+ }
+ }
+}
+@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
-\score @{
- @var{..}
+\header @{
+ composer = "Composer"
@}
-\markup @{
- @var{..}
+\header @{
+ piece = "Piece"
@}
\score @{
- @var{..}
+ \new Staff @{ c'4 @}
+ \header @{
+ piece = "New piece" % overwrite previous one
+ @}
@}
@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,
-where you explicitly have to add a @code{\book} block, otherwise only
-the first @code{\score} or @code{\markup} will appear in the output.
+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
-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.
+@funindex printallheaders
+@noindent
+You may change this behavior (and print all the headers when defining
+@code{\header} inside @code{\score}) by using
@example
-\header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
-@}
-\score @{
- @dots{}
- \header @{ piece = "Romanze" @}
-@}
-\markup @{
- ..text of second verse..
-@}
-\markup @{
- ..text of third verse..
+\paper@{
+ printallheaders=##t
@}
-\score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
+@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 @qq{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 Extracting fragments of notation
-@subsection Extracting fragments of notation
-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.
+@node Custom titles
+@subsection Custom titles
-This is done by definining the measures that need to be cut out
-separately. For example, including the following definition
+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 added at the top of the entire output document.
+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. Typically, it has
+the name of the movement (@code{piece} field).
+
+@funindex oddHeaderMarkup
+@item oddHeaderMarkup
+ This is the page header for odd-numbered pages.
+
+@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.
+
+@funindex evenFooterMarkup
+@item evenFooterMarkup
+ This is the page footer for even-numbered pages. If unspecified,
+ the odd header is used instead.
+
+ By default, the footer has the copyright notice on the first, and
+ the tagline on the last page.
+@end table
+
+
+@cindex \paper
+@cindex header
+@cindex footer
+@cindex page layout
+@cindex titles
+
+The following definition will put the title flush left, and the
+composer flush right on a single line.
@verbatim
-\layout {
- clip-regions
- = #(list
- (cons
- (make-rhythmic-location 5 1 2)
- (make-rhythmic-location 7 3 4)))
-}
+\paper {
+ bookTitleMarkup = \markup {
+ \fill-line {
+ \fromproperty #'header:title
+ \fromproperty #'header:composer
+ }
+ }
+}
@end verbatim
-@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.
+@node Reference to page numbers
+@subsection Reference to page numbers
+
+A particular place of a score can be marked using the @code{\label}
+command, either at top-level or inside music. This label can then be
+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]
+\header { tagline = ##f }
+\book {
+ \label #'firstScore
+ \score {
+ {
+ c'1
+ \pageBreak \mark A \label #'markA
+ c'
+ }
+ }
+
+ \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
+ \markup { Mark A is on page \page-ref #'markA "0" "?" }
+}
+@end lilypond
-More clip regions can be defined by adding more pairs of
-rhythmic-locations to the list.
+The @code{\page-ref} markup command takes three arguments:
+@enumerate
+@item the label, a scheme symbol, eg. @code{#'firstScore};
+@item a markup that will be used as a gauge to estimate the dimensions
+of the markup;
+@item a markup that will be used in place of the page number if the label
+is not known;
+@end enumerate
+
+The reason why a gauge is needed is that, at the time markups are
+interpreted, the page breaking has not yet occurred, so the page numbers
+are not yet known. To work around this issue, the actual markup
+interpretation is delayed to a later time; however, the dimensions of
+the markup have to be known before, so a gauge is used to decide these
+dimensions. If the book has between 10 and 99 pages, it may be "00",
+ie. a two digit number.
+
+@predefined
+
+@funindex \label
+@code{\label}
+@funindex \page-ref
+@code{\page-ref}
+
+@node Table of contents
+@subsection Table of contents
+A table of contents is included using the @code{\markuplines \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.
-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.
+@verbatim
+\markuplines \table-of-contents
+\pageBreak
+
+\tocItem \markup "First score"
+\score {
+ {
+ c' % ...
+ \tocItem \markup "Some particular point in the first score"
+ d' % ...
+ }
+}
+
+\tocItem \markup "Second score"
+\score {
+ {
+ e' % ...
+ }
+}
+@end verbatim
+
+The markups which are used to format the table of contents are defined
+in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
+for formatting the title of the table, and @code{tocItemMarkup}, for
+formatting the toc elements, composed of the element title and page
+number. These variables may be changed by the user:
+
+@verbatim
+\paper {
+ %% Translate the toc title into French:
+ tocTitleMarkup = \markup \huge \column {
+ \fill-line { \null "Table des matières" \null }
+ \hspace #1
+ }
+ %% use larger font size
+ tocItemMarkup = \markup \large \fill-line {
+ \fromproperty #'toc:text \fromproperty #'toc:page
+ }
+}
+@end verbatim
+
+Note how the toc element text and page number are referred to in
+the @code{tocItemMarkup} definition.
+
+New commands and markups may also be defined to build more elaborated
+table of contents:
+@itemize
+@item first, define a new markup variable in the @code{\paper} block
+@item then, define a music function which aims at adding a toc element
+using this markup paper variable.
+@end itemize
+
+In the following example, a new style is defined for entering act names
+in the table of contents of an opera:
+
+@verbatim
+\paper {
+ tocActMarkup = \markup \large \column {
+ \hspace #1
+ \fill-line { \null \italic \fromproperty #'toc:text \null }
+ \hspace #1
+ }
+}
+
+tocAct =
+#(define-music-function (parser location text) (markup?)
+ (add-toc-item! 'tocActMarkup text))
+@end verbatim
+
+@lilypond[line-width=11.0\cm]
+\header { tagline = ##f }
+\paper {
+ tocActMarkup = \markup \large \column {
+ \hspace #1
+ \fill-line { \null \italic \fromproperty #'toc:text \null }
+ \hspace #1
+ }
+}
+
+tocAct =
+#(define-music-function (parser location text) (markup?)
+ (add-toc-item! 'tocActMarkup text))
+
+\book {
+ \markuplines \table-of-contents
+ \tocAct \markup { Atto Primo }
+ \tocItem \markup { Coro. Viva il nostro Alcide }
+ \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
+ \tocAct \markup { Atto Secondo }
+ \tocItem \markup { Sinfonia }
+ \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
+ \markup \null
+}
+@end lilypond
+
+@seealso
+
+Init files: @file{ly/@/toc@/-init@/.ly}.
+
+@predefined
+
+@funindex \table-of-contents
+@code{\table-of-contents}
+@funindex \tocItem
+@code{\tocItem}
-For more information on output formats, see @rprogram{Invoking lilypond}.
-@seealso
+@node Working with input files
+@section Working with input files
-Examples: @c @lsr{non-notation,clip-systems.ly}
+@menu
+* Including LilyPond files::
+* Different editions from one source::
+* Text encoding::
+* Displaying LilyPond notation::
+@end menu
@node Including LilyPond 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
+user. Run @code{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
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
+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
@end example
-@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.
-
-@c Currently not working
-@ignore
-Depending on the fonts installed, the following fragment shows Hebrew
-and Cyrillic lyrics,
-
-@cindex Cyrillic
-@cindex Hebrew
-@cindex ASCII, non
-
-@li lypondfile[fontload]{utf-8.ly}
-
-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
-lilypond -dbackend=texstr input/les-nereides.ly
-latex les-nereides.texstr
-@end example
-
-The last command produces @file{les-nereides.textmetrics}, which is
-read when you execute
-
-@example
-lilypond -dbackend=tex input/les-nereides.ly
-@end example
-
-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.
-
-@end ignore
-
-To use a Unicode escape sequence, use
-
-@example
-#(ly:export (ly:wide-char->utf-8 #x2014))
-@end example
-
-
-@seealso
-
-@c @lsr{text,utf-8.ly}
-
-
@node Different editions from one source
@subsection Different editions from one source
@end example
would yield
-@lilypondfile[ragged-right,quote]{tag-filter.ly}
+@c FIXME: broken
+@c @lilypondfile[ragged-right,quote]{tag-filter.ly}
The arguments of the @code{\tag} command should be a symbol
(such as @code{#'score} or @code{#'part}), followed by a
@end example
-@seealso
-
-Examples: @c @lsr{parts,tag@/-filter@/.ly}
-
-
@knownissues
Multiple rests are not merged if you create the score with both tagged
sections.
-@node Common syntax issues TODO name?
-@section Common syntax issues TODO name?
-
-@menu
-* Controlling direction and placement::
-* Distances and measurements MAYBE MOVE::
-* When to add a -::
-@end menu
-
-@node Controlling direction and placement
-@subsection Controlling direction and placement
-
-TODO: everything
-
-By default, lilypnod does a pretty jazz'n job of picking
-directions. But in some cases, it may be desirable to force a
-direction.
-
-@verbatim
--
-^ _
-@end verbatim
-
-Also cover
-#UP
-#DOWN
-#LEFT
-#RIGHT.
-
-Maybe rename section to "directions".
-
-Also mention \override Foo #'direction = #'DOWN.
-
-also mention the typical \fooDown, \fooNeutral predefined commands.
+@node Text encoding
+@subsection Text encoding
-also mention that some directions are (without other tweaking)
-always up or always down (like dynamics or fermata), while other
-things can alternate between up or down based on the stem direction
-(like slurs or accents).
+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.
+@c Currently not working
+@ignore
+Depending on the fonts installed, the following fragment shows Hebrew
+and Cyrillic lyrics,
-@node Distances and measurements MAYBE MOVE
-@subsection Distances and measurements MAYBE MOVE
+@cindex Cyrillic
+@cindex Hebrew
+@cindex ASCII, non
-DISCUSS after working on other sections.
+@li lypondfile[fontload]{utf-8.ly}
-TODO: staff spaces, #UP #DOWN #LEFT #RIGHT. Maybe move into tweaks?
+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
+lilypond -dbackend=texstr input/les-nereides.ly
+latex les-nereides.texstr
+@end example
-@node When to add a -
-@subsection When to add a -
+The last command produces @file{les-nereides.textmetrics}, which is
+read when you execute
-One of these works, the other doesn't.
+@example
+lilypond -dbackend=tex input/les-nereides.ly
+@end example
-@verbatim
-\version "2.11.38"
-{ c'\mp\fermata\accent-\markup { "forcefully"} }
-% { c'\mp\fermata\accent\markup { "forcefully"} }
-@end verbatim
+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.
+@end ignore
-@node Other stuffs TODO move?
-@section Other stuffs TODO move?
+To use a Unicode escape sequence, use
+@example
+#(ly:export (ly:wide-char->utf-8 #x2014))
+@end example
-@menu
-* Displaying LilyPond notation::
-* Skipping corrected music::
-* context list FIXME::
-* another thing FIXME::
-* Input modes FIXME::
-@end menu
@node Displaying LilyPond notation
@subsection Displaying LilyPond notation
@end example
+
+@node Controlling output
+@section Controlling output
+
+@menu
+* Extracting fragments of music::
+* Skipping corrected music::
+@end menu
+
+@node Extracting fragments of music
+@subsection Extracting fragments of music
+
+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.
+
+This is done by defining the measures that need to be cut out
+separately. For example, including the following definition
+
+
+@verbatim
+\layout {
+ clip-regions
+ = #(list
+ (cons
+ (make-rhythmic-location 5 1 2)
+ (make-rhythmic-location 7 3 4)))
+}
+@end verbatim
+
+@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.
+
+More clip regions can be defined by adding more pairs of
+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
+converted to PDF and PNG if these formats are switched on as well.
+
+For more information on output formats, see @rprogram{Invoking lilypond}.
+
@node Skipping corrected music
@subsection Skipping corrected music
voices and staves, saving even more time.
-@node context list FIXME
-@subsection context list FIXME
-
->> > > - list of contexts: my *danger unmaintainable*
->> > > alarm just went off. I'm
-
-I knew it would... And leaving out some of them is perfectly fine
-with me.
-I do think that a list like this, with the main contexts and a
-brief
-description of what they do (perhaps also with a note about what
-default
-behaviour is associated with each of them, but this may be
-unmanageable),
-should be there, and then we could simply list the remaining ones
-without
-further explanation and with links to the IR.
-
-
-The Master Of All Contexts
-==========================
-
- * Score
- This is the top level notation context. No other context
-can
- contain a Score context. This context handles the
- administration of time signatures. It also makes sure that
- items such as clefs, time signatures, and key-signatures
-are
- aligned across staves.
- You cannot explicitly instantiate a Score context (since
-it is
- not contained in any other context). It is instantiated
- automatically when an output definition (a \score or
-\layout
- block) is processed.
- (it should also be made clear somewhere what the
-difference is between
- \score and \Score).
-
-Top-level contexts: Staff containers
-====================================
- * StaffGroup
- Groups staves while adding a bracket on the left side,
- grouping the staves together. The bar lines of the
-contained
- staves are connected vertically. StaffGroup only consists
-of a
- collection of staves, with a bracket in front and spanning
-bar
- lines.
- * ChoirStaff
- Identical to StaffGroup except that the contained staves
-are
- not connected vertically.
- * GrandStaff
- A group of staves, with a brace on the left side, grouping
-the
- staves together. The bar lines of the contained staves are
- connected vertically.
- * PianoStaff
- Just like GrandStaff but with a forced distance between
-the
- staves, so cross staff beaming and slurring can be used.
- * DrumStaff
- Handles typesetting for percussion. Can contain DrumVoice
- * InnerStaffGroup
- * InnerChoirStaff
-
-Staff-level contexts
-====================
- * Staff
- Handles clefs, bar lines, keys, accidentals. It can
-contain
- Voice contexts.
- * RhythmicStaff
- Like Staff but for printing rhythms. Pitches are
- ignored; the notes are printed on one line.
- * TabStaff
- Context for generating tablature. By default lays the
-music
- expression out as a guitar tablature, printed on six
-lines.
- * VaticanaStaff
- Same as Staff, except that it is accommodated for
- typesetting a piece in gregorian style.
- * MensuralStaff
- Same as Staff, except that it is accommodated for
- typesetting a piece in mensural style.
-
-Voice-level (bottom) contexts
-=============================
-What is generated by default here? The voice-level contexts
-initiate
-certain properties and start engravers.
-
- * Voice
- Corresponds to a voice on a staff. This context handles
-the
- conversion of dynamic signs, stems, beams, super- and
- subscripts, slurs, ties, and rests.
- You have to instantiate this explicitly if you want to
-have
- multiple voices on the same staff.
- Bottom context.
- * VaticanaVoice
- Same as Voice, except that it is accommodated for
- typesetting a piece in gregorian style.
- * MensuralVoice
- Same as Voice, except that it is accommodated for
- typesetting a piece in mensural style.
- * Lyrics
- Corresponds to a voice with lyrics. Handles the printing
-of a
- single line of lyrics.
- Bottom context.
- * DrumVoice
- A voice on a percussion staff.
- * FiguredBass
-
- * ChordNames
- Typesets chord names. This context is a `bottom' context;
-it
- cannot contain other contexts.
-
-------------------------------
-Then the following, which I don't know what to do with:
-
- * TabVoice
- * GregorianTranscriptionVoice
- * GregorianTranscriptionStaff
-
- * FretBoards
- Engraves fretboards from chords. Not easy... Not
-documented.
- * NoteNames
-
- * CueVoice Not documented
- * Global
- Hard coded entry point for LilyPond. Cannot be tuned.
- * Devnull
- Silently discards all musical information given to this
-context.
-
-
-@node another thing FIXME
-@subsection another thing FIXME
-
-Another thing that is needed, is an overview of the various naming
-conventions:
-
- scheme functions: lowercase-with-hyphens (incl. one-word
-names)
- scheme functions: ly:plus-scheme-style
- music events, music classes and music properties:
-as-scheme-functions
- Grob interfaces: scheme-style
- backend properties: scheme-style (but X and Y!)
- contexts (and MusicExpressions and grobs): Capitalized or
-CamelCase
- context properties: lowercaseFollowedByCamelCase
- engravers:
-Capitalized_followed_by_lowercase_and_with_underscores
-
-Which of these are conventions and which are rules?
-Which are rules of the underlying language, and which are
-LP-specific?
-
-
-@node Input modes FIXME
-@subsection Input modes FIXME
-
-\notemode
-
-\notemode turns the front end of LilyPond into note mode
-(which is the default parsing mode).
-It's certainly useful in certain situations, for example if you
-are in \lyricmode or \chordmode or ... and want to insert
-something that only can be done with \notemode syntax.
-
-See for example
-http://lists.gnu.org/archive/html/lilypond-user/2007-03/msg00418.html
-http://lists.gnu.org/archive/html/lilypond-user/2007-03/msg00218.html
-http://lists.gnu.org/archive/html/lilypond-user/2006-12/msg00236.html
-http://lists.gnu.org/archive/html/lilypond-user/2006-11/msg00061.html
-
-
-\chords
-\drums
-\fretmode ?
+@node MIDI output
+@section MIDI output
+
+@cindex Sound
+@cindex MIDI
+
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and controlling digital instruments. A MIDI file is a
+series of notes in a number of tracks. It is not an actual
+sound file; you need special software to translate between the
+series of notes and actual sounds.
+
+Pieces of music can be converted to MIDI files, so you can listen to
+what was entered. This is convenient for checking the music; octaves
+that are off or accidentals that were mistyped stand out very much
+when listening to the MIDI output.
+
+@knownissues
+
+Many musically interesting effects, such as swing, articulation,
+slurring, etc., are not translated to midi.
+
+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.
+
+Not all midi players correctly handle tempo changes in the midi
+output. Players that are known to work include
+@uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
+
+@menu
+* Creating MIDI files::
+* MIDI block::
+* MIDI instrument names::
+* What goes into the MIDI? FIXME::
+* other midi::
+@end menu
+
+@node 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
+\score @{
+ @var{...music...}
+ \midi @{
+ \context @{
+ \Score
+ tempoWholesPerMinute = #(ly:make-moment 72 4)
+ @}
+ @}
+@}
+@end example
+
+The tempo can be specified using the @code{\tempo} command within the
+actual music, see @ref{Metronome marks}. An alternative, which does not
+result in a metronome mark in the printed score, is shown in the example
+above. In this example the tempo of quarter notes is set to 72 beats per
+minute.
+This kind of tempo
+specification can not take dotted note lengths as an argument. In this
+case, break the dotted notes into smaller units. For example, a tempo
+of 90 dotted quarter notes per minute can be specified as 270 eighth
+notes per minute
+
+@example
+tempoWholesPerMinute = #(ly:make-moment 270 8)
+@end example
+
+If there is a @code{\midi} command in a @code{\score}, only MIDI will
+be produced. When notation is needed too, a @code{\layout} block must
+be added
+
+@example
+\score @{
+ @var{...music...}
+ \midi @{ @}
+ \layout @{ @}
+@}
+@end example
+@cindex layout block
+
+
+
+Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
+crescendi and decrescendi translate into MIDI volume levels. Dynamic
+marks translate to a fixed fraction of the available MIDI volume
+range, crescendi and decrescendi make the volume vary linearly between
+their two extremes. The fractions can be adjusted by
+@code{dynamicAbsoluteVolumeFunction} in @rinternals{Voice} context.
+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}, or by setting
+
+@example
+\set Staff.midiMinimumVolume = #0.2
+\set Staff.midiMaximumVolume = #0.8
+@end example
+
+To remove dynamics from the MIDI output, insert the following lines
+in the @code{\midi@{@}} section.
+
+@example
+\midi @{
+ ...
+ \context @{
+ \Voice
+ \remove "Dynamic_performer"
+ @}
+@}
+@end example
+
+
+@knownissues
+
+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
+
+@noindent
+will not work properly but
+
+@example
+@{ a\< b c d\!\f @}
+@end example
+
+@noindent
+will.
+
+
+MIDI output is only created when the @code{\midi} command is within
+a @code{\score} block. If you put it within an explicitly instantiated
+context ( i.e. @code{\new Score} ) the file will fail. To solve this,
+enclose the @code{\new Score} and the @code{\midi} in a @code{\score} block.
+
+@example
+\score @{
+ \new Score @{ @dots{}notes@dots{} @}
+ \midi
+@}
+@end example
+
+
+@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
+
+Context definitions follow precisely the same syntax as within the
+\layout block. Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
+
+
+@node MIDI instrument names
+@subsection MIDI instrument names
+
+@cindex instrument names
+@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
+@ref{MIDI instruments}.
+
+@example
+\set Staff.midiInstrument = "glockenspiel"
+@var{...notes...}
+@end example
+
+If the selected instrument does not exactly match an instrument from
+the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
+instrument is used.
+
+
+@node What goes into the MIDI? FIXME
+@subsection What goes into the MIDI? FIXME
+
+@menu
+* Repeats and MIDI::
+@end menu
+
+@node Repeats and MIDI
+@subsubsection Repeats and MIDI
+
+@cindex expanding repeats
+@funindex \unfoldRepeats
+
+With a little bit of tweaking, all types of repeats can be present
+in the MIDI output. This is achieved by applying the
+@code{\unfoldRepeats} music function. This function changes all
+repeats to unfold repeats.
+
+@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
+\unfoldRepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
+ }
+}
+\bar "|."
+@end lilypond
+
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI
+(with unfolded repeats) and one for notation (with volta, tremolo,
+and percent repeats). For example,
+
+@example
+\score @{
+ @var{..music..}
+ \layout @{ .. @}
+@}
+\score @{
+ \unfoldRepeats @var{..music..}
+ \midi @{ .. @}
+@}
+@end example
+
+
+@node other midi
+@subsection other midi
+Micro tones are also exported to the MIDI file.
+Figured bass has no effect on MIDI.
projects / lilypond.git / blobdiff