under heavy development.
@menu
-* Input structure::
-* Useful concepts and properties::
-* Titles and headers::
-* Working with input files::
-* Controlling output::
-* MIDI output::
+* Input structure::
+* Titles and headers::
+* Working with input files::
+* Controlling output::
+* MIDI output::
@end menu
these files end with @code{.ly}.
@menu
-* Structure of a score::
-* Multiple scores in a book::
-* File structure::
+* Structure of a score::
+* Multiple scores in a book::
+* File structure::
@end menu
Learning Manual:
@rlearning{How LilyPond input files work}.
-@node Useful concepts and properties
-@section Useful concepts and properties
-
-
-@menu
-* Input modes::
-* Direction and placement::
-* Distances and measurements::
-* Spanners::
-@end menu
-
-@node Input modes
-@subsection Input modes
-
-The way in which the notation contained within an input file is
-interpreted is determined by the current input mode.
-
-@strong{Chord mode}
-
-This is activated with the @code{\chordmode} command, and causes
-input to be interpreted with the syntax of chord notation, see
-@ref{Chord notation}. Chords are rendered as notes on a staff.
-
-Chord mode is also activated with the @code{\chords} command.
-This also creates a new @code{ChordNames} context and
-causes the following input to be interpreted with the syntax of
-chord notation and rendered as chord names in the @code{ChordNames}
-context, see @ref{Printing chord names}.
-
-@strong{Drum mode}
-
-This is activated with the @code{\drummode} command, and causes
-input to be interpreted with the syntax of drum notation, see
-@ref{Basic percussion notation}.
-
-Drum mode is also activated with the @code{\drums} command.
-This also creates a new @code{DrumStaff} context and causes the
-following input to be interpreted with the syntax of drum notation
-and rendered as drum symbols on a drum staff, see @ref{Basic
-percussion notation}.
-
-@strong{Figure mode}
-
-This is activated with the @code{\figuremode} command, and causes
-input to be interpreted with the syntax of figured bass, see
-@ref{Entering figured bass}.
-
-Figure mode is also activated with the @code{\figures} command.
-This also creates a new @code{FiguredBass} context and causes the
-following input to be interpreted with the figured bass syntax
-and rendered as figured bass symbols in the @code{FiguredBass}
-context, see @ref{Introduction to figured bass}.
-
-@strong{Fret and tab modes}
-
-There are no special input modes for entering fret and tab symbols.
-
-To create tab diagrams, enter notes or chords in note mode and
-render them in a @code{TabStaff} context, see
-@ref{Default tablatures}.
-
-To create fret diagrams above a staff, enter them as markup
-above the notes using the @code{\fret-diagram} command, see
-@ref{Fret diagrams}.
-
-@strong{Lyrics mode}
-
-This is activated with the @code{\lyricmode} command, and causes
-input to be interpreted as lyric syllables with optional durations
-and associated lyric modifiers, see @ref{Vocal music}.
-
-Lyric mode is also activated with the @code{\addlyrics} command.
-This also creates a new @code{Lyrics} context and an implicit
-@code{\lyricsto} command which associates the following lyrics
-with the preceding music.
-
-@strong{Markup mode}
-
-This is activated with the @code{\markup} command, and causes
-input to be interpreted with the syntax of markup, see
-@ref{Text markup commands}.
-
-@c silly work-around for texinfo broken-ness
-@c (@strong{Note...} causes a spurious cross-reference in Info)
-@b{Note mode}
-
-This is the default mode or it may be activated with the
-@code{\notemode} command. Input is interpreted as pitches,
-durations, markup, etc and typeset as musical notation on a staff.
-
-It is not normally necessary to specify note mode explicitly, but
-it may be useful to do so in certain situations, for example if you
-are in lyric mode, chord mode or any other mode and want to insert
-something that only can be done with note mode syntax.
-
-For example, to indicate dynamic markings for the verses of a
-choral pieces it is necessary to enter note mode to interpret
-the markings:
-
-@lilypond[verbatim,relative=2,quote]
-{ c4 c4 c4 c4 }
-\addlyrics {
- \notemode{\set stanza = \markup{ \dynamic f 1. } }
- To be sung loudly
-}
-\addlyrics {
- \notemode{\set stanza = \markup{ \dynamic p 2. } }
- To be sung quietly
-}
-@end lilypond
-
-
-
-@node Direction and placement
-@subsection Direction and placement
-
-In typesetting music the direction and placement of many items is
-a matter of choice. For example, the stems of notes can
-be directed up or down; lyrics, dynamics, and other expressive
-marks may be placed above or below the staff; text may be aligned
-left, right or center; etc. Most of these choices may be left to
-be determined automatically by LilyPond, but in some cases it may
-be desirable to force a particular direction or placement.
-
-@strong{Default actions}
-
-By default some directions are always up or always down (e.g.
-dynamics or fermata), while other things can alternate between
-up or down based on the stem direction (like slurs or accents).
-
-@c TODO Add table showing these
-
-@strong{Context layout}
-
-Contexts are positioned in a system from top to bottom in the
-order in which they are encountered. Note, however, that a
-context will be created implicitly if a command is encountered
-when there is no suitable context available to contain it.
-
-@c TODO Add example ?
-
-The default order in which contexts are laid out can be changed,
-see @ref{Aligning contexts}
-
-@strong{Articulation direction indicators}
-
-When adding articulations to notes the direction indicator,
-@code{^} (meaning @qq{up}), @code{_} (meaning @qq{down}) or
-@code{-} (meaning @qq{use default direction}), can usually be
-omitted, in which case @code{-} is assumed. But a direction
-indicator is @strong{always} required before
-
-@itemize
-@item @code{\tweak} commands
-@item @code{\markup} commands
-@item @code{\tag} commands
-@item string markups, e.g. -"string"
-@item fingering instructions, e.g. @code{-1}
-@item articulation shortcuts, e.g. @code{-.}, @code{->}, @code{--}
-@end itemize
-
-@strong{The direction property}
-
-The position or direction of many layout objects is controlled
-by the @code{direction} property.
-
-The value of the @code{direction} property may be
-set to @code{1}, meaning @qq{up} or @qq{above}, or to @code{-1},
-meaning @qq{down} or @qq{below}. The symbols @code{UP} and
-@code{DOWN} may be used instead of @code{1} and @code{-1}
-respectively. The default direction may be specified by setting
-@code{direction} to @code{0} or @code{CENTER}. Alternatively,
-in many cases predefined commands
-exist to specify the direction. These are all of the form
-
-@noindent
-@code{\xxxUp}, @code{xxxDown}, @code{xxxNeutral}
-
-@noindent
-where @code{xxxNeutral} means @qq{use the default direction}.
-See @rlearning{Within-staff objects}.
-
-In a few cases, arpeggio being the only common example, the value
-of the @code{direction} property specifies whether the object
-is to be placed to the right or left of the parent object. In
-this case @code{-1} or @code{LEFT} means @qq{to the left} and
-@code{1} or @code{RIGHT} means @qq{to the right}. @code{0}
-or @code{CENTER} means @qq{use the default} direction, as before.
-
-@ignore
-These all have side-axis set to #X
-AmbitusAccidental - direction has no effect
-Arpeggio - works
-StanzaNumber - not tried
-TrillPitchAccidental - not tried
-TrillPitchGroup - not tried
-@end ignore
-
-
-
-@node Distances and measurements
-@subsection Distances and measurements
-
-DISCUSS after working on other sections.
-
-TODO: staff spaces. Maybe move into tweaks?
-
-
-@node Spanners
-@subsection Spanners
-
-Many objects of musical notation extend over several notes or even
-several bars. Examples are crescendi, trills, tuplet brackets, and
-volta repeat brackets. Such objects are called @qq{spanners}, and
-have special properties to control their appearance and behaviour.
-Some of these properties are common to all spanners; others are
-restricted to a sub-set of the spanners.
-
@node Titles and headers
@section Titles and headers
some pieces include a lot more information.
@menu
-* Creating titles::
-* Custom titles::
-* Reference to page numbers::
-* Table of contents::
+* Creating titles::
+* Custom titles::
+* Reference to page numbers::
+* Table of contents::
@end menu
@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
+@item a markup that will be used in place of the page number if the label
is not known;
@end enumerate
\pageBreak
\tocItem \markup "First score"
-\score {
+\score {
{
c' % ...
\tocItem \markup "Some particular point in the first score"
- d' % ...
+ d' % ...
}
}
}
}
-tocAct =
+tocAct =
#(define-music-function (parser location text) (markup?)
(add-toc-item! 'tocActMarkup text))
@end verbatim
}
}
-tocAct =
+tocAct =
#(define-music-function (parser location text) (markup?)
(add-toc-item! 'tocActMarkup text))
@section Working with input files
@menu
-* Including LilyPond files::
-* Different editions from one source::
-* Text encoding::
-* Displaying LilyPond notation::
+* Including LilyPond files::
+* Different editions from one source::
+* Text encoding::
+* Displaying LilyPond notation::
@end menu
@funindex \include
@cindex including files
-A large project may be split up into separate files. To refer to another
-file, use
+A large project may be split up into separate files. To refer to
+another file, use
@example
\include "otherfile.ly"
@end example
-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 @q{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 @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
-VERSION is in the form @q{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
+The line @code{\include "otherfile.ly"} is equivalent to pasting the
+contents of @file{otherfile.ly} into the current file at the place
+where the @code{\include} appears. For example, in a large
+project you might write separate files for each instrument part
+and create a @qq{full score} file which brings together the
+individual instrument files. Normally the included file will
+define a number of variables which then become available
+for use in the full score file. Tagged sections can be
+marked in included files to assist in making them usable in
+different places in a score, see @ref{Different editions from
+one source}.
+
+Files in the current working directory may be referenced by
+specifying just the file name after the @code{\include} command.
+Files in other locations may be included by giving either a full
+path reference or a relative path reference (but use the UNIX
+forward slash, /, rather than the DOS/Windows back slash, \, as the
+directory separator.) For example, if @file{stuff.ly} is located
+one directory higher than the current working directory, use
@example
\include "../stuff.ly"
@end example
+@noindent
+or if the included orchestral parts files are all located in a
+subdirectory called @file{parts} within the current directory, use
+
+@example
+\include "parts/VI.ly"
+\include "parts/VII.ly"
+... etc
+@end example
+
+Files which are to be included can also contain @code{\include}
+statements of their own. These second-level
+@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.
+
+Files can also be included from a directory in a search path
+specified as an option when invoking LilyPond from the command
+line. The included files are then specified using just their
+file name. For example, to compile @file{main.ly} which includes
+files located in a subdirectory called @file{parts} by this method,
+cd to the directory containing @file{main.ly} and enter
+
+@example
+lilypond --include=parts main.ly
+@end example
+
+and in main.ly write
+
+@example
+\include "VI.ly"
+\include "VII.ly"
+... etc
+@end example
+
+Files which are to be included in many scores may be placed in
+the LilyPond directory @file{../ly}. (The location of this
+directory is installation-dependent - see @rlearning{Other sources
+of information}). These files can then be included simply by
+naming them on an @code{\include} statement. This is how the
+language-dependent files like @file{english.ly} are included.
+
+LilyPond includes a number of files by default when you start
+the program. These includes are not apparent to the user, but the
+files may be identified by running @code{lilypond --verbose} from
+the command line. This will display a list of paths and files that
+LilyPond uses, along with much other information. Alternatively,
+the more important of these files are discussed in @rlearning{Other
+sources of information}. These files may be edited, but changes to
+them will be lost on installing a new 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
-@funindex \tag
-@cindex tag
+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.
-The @code{\tag} command marks music expressions with a name. These
-tagged expressions can be filtered out later. With this mechanism it
-is possible to make different versions of the same music source.
+@menu
+* Using variables::
+* Using tags::
+@end menu
-In the following example, we see two versions of a piece of music, one
-for the full score, and one with cue notes for the instrumental part
+@node Using variables
+@unnumberedsubsubsec Using variables
-@example
-c1
+@cindex variables, use of
+
+If sections of the music are defined in variables they can be
+reused in different parts of the score, see @rlearning{Organizing
+pieces with variables}. For example, an @notation{a cappella}
+vocal score frequently includes a piano reduction of the parts
+for rehearsal purposes which is identical to the vocal music, so
+the music need be entered only once. Music from two variables
+may be combined on one staff, see @ref{Automatic part combining}.
+Here is an example:
+
+@lilypond[verbatim,quote]
+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, }
+allLyrics = \lyricmode {King of glo -- ry }
<<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
+ \new Staff = "Soprano" \sopranoMusic
+ \new Lyrics \allLyrics
+ \new Staff = "Alto" \altoMusic
+ \new Lyrics \allLyrics
+ \new Staff = "Tenor" {
+ \clef "treble_8"
+ \tenorMusic
+ }
+ \new Lyrics \allLyrics
+ \new Staff = "Bass" {
+ \clef "bass"
+ \bassMusic
+ }
+ \new Lyrics \allLyrics
+ \new PianoStaff <<
+ \new Staff = "RH" {
+ \set Staff.printPartCombineTexts = ##f
+ \partcombine
+ \sopranoMusic
+ \altoMusic
+ }
+ \new Staff = "LH" {
+ \set Staff.printPartCombineTexts = ##f
+ \clef "bass"
+ \partcombine
+ \tenorMusic
+ \bassMusic
+ }
>>
- \tag #'score R1
>>
-c1
-@end example
+@end lilypond
+
+Separate scores showing just the vocal parts or just the piano
+part can be produced by changing just the structural statements,
+leaving the musical notation unchanged.
+
+For lengthy scores, the variable definitions may be placed in
+separate files which are then included, see @ref{Including
+LilyPond files}.
+
+@node Using tags
+@unnumberedsubsubsec Using tags
+
+@funindex \tag
+@funindex \keepWithTag
+@funindex \removeWithTag
+@cindex tag
+@cindex keep tagged music
+@cindex remove tagged music
+
+The @code{\tag #'@var{partA}} command marks a music expression
+with the name @var{partA}.
+Expressions tagged in this way can be selected or filtered out by
+name later, using either @code{\keepWithTag #'@var{name}} or
+@code{\removeWithTag #'@var{name}}. The result of applying these filters
+to tagged music is as follows:
+@multitable @columnfractions .5 .5
+@headitem Filter
+ @tab Result
+@item
+Tagged music preceded by @code{\keepWithTag #'@var{name}}
+ @tab Untagged music and music tagged with @var{name} is included;
+ music tagged with any other tag name is excluded.
+@item
+Tagged music preceded by @code{\removeWithTag #'@var{name}}
+@tab Untagged music and music tagged with any tag name other than
+ @var{name} is included; music tagged with @var{name} is
+ excluded.
+@item
+Tagged music not preceded by either @code{\keepWithTag} or
+@code{\removeWithTag}
+@tab All tagged and untagged music is included.
+@end multitable
+
+The arguments of the @code{\tag}, @code{\keepWithTag} and
+@code{\removeWithTag} commands should be a symbol
+(such as @code{#'score} or @code{#'part}), followed
+by a music expression.
+
+In the following example, we see two versions of a piece of music,
+one showing trills with the usual notation, and one with trills
+explicitly expanded:
+
+@lilypond[verbatim,quote]
+music = \relative g' {
+ g8. c32 d
+ \tag #'trills {d8.\trill }
+ \tag #'expand {\repeat unfold 3 {e32 d} }
+ c32 d
+ }
+
+\score {
+ \keepWithTag #'trills \music
+}
+\score {
+ \keepWithTag #'expand \music
+}
+@end lilypond
+
+@noindent
+Alternatively, it is sometimes easier to exclude sections of music:
+
+@lilypond[verbatim,quote]
+music = \relative g' {
+ g8. c32 d
+ \tag #'trills {d8.\trill }
+ \tag #'expand {\repeat unfold 3 {e32 d} }
+ c32 d
+ }
+
+\score {
+ \removeWithTag #'expand
+ \music
+}
+\score {
+ \removeWithTag #'trills
+ \music
+}
+@end lilypond
+
+Tagged filtering can be applied to articulations, texts, etc. by
+prepending
-The same can be applied to articulations, texts, etc.: they are
-made by prepending
@example
--\tag #@var{your-tag}
+-\tag #'@var{your-tag}
@end example
-to an articulation, for example,
+
+to an articulation. For example, this would define a note with a
+conditional fingering indication and a note with a conditional
+annotation:
+
@example
-c1-\tag #'part ^4
+c1-\tag #'finger ^4
+c1-\tag #'warn ^"Watch!"
@end example
-This defines a note with a conditional fingering indication.
+Multiple tags may be placed on expressions with multiple
+@code{\tag} entries:
-@cindex keepWithTag
-@cindex removeWithTag
-By applying the @code{\keepWithTag} and @code{\removeWithTag}
-commands, tagged expressions can be filtered. For example,
-@example
+@lilypond[quote,verbatim]
+music = \relative c'' {
+ \tag #'a \tag #'both { a a a a }
+ \tag #'b \tag #'both { b b b b }
+}
<<
- @var{the music}
- \keepWithTag #'score @var{the music}
- \keepWithTag #'part @var{the music}
+\keepWithTag #'a \music
+\keepWithTag #'b \music
+\keepWithTag #'both \music
>>
-@end example
-would yield
+@end lilypond
-@c FIXME: broken
-@c @lilypondfile[ragged-right,quote]{tag-filter.ly}
+Multiple @code{\removeWithTag} filters may be applied to a single
+music expression to remove several differently named tagged sections:
-The arguments of the @code{\tag} command should be a symbol
-(such as @code{#'score} or @code{#'part}), followed by a
-music expression. It is possible to put multiple tags on
-a piece of music with multiple @code{\tag} entries,
+@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 }
+}
+{
+\removeWithTag #'B
+\removeWithTag #'C
+\music
+}
+@end lilypond
-@example
- \tag #'original-part \tag #'transposed-part @dots{}
-@end example
+Two or more @code{\keepWithTag} filters applied to a single music
+expression will cause @emph{all} tagged sections to be removed, as
+the first filter will remove all tagged sections except the one
+named, and the second filter will remove even that tagged section.
+@seealso
+
+Learning Manual:
+@rlearning{Organizing pieces with variables}.
+
+Notation Reference:
+@ref{Automatic part combining},
+@ref{Including LilyPond files}.
+
+@ignore
+@c This warning is more general than this placement implies.
+@c Rests are not merged whether or not they come from tagged sections.
+@c Should be deleted? -td
@knownissues
-Multiple rests are not merged if you create the score with both tagged
-sections.
+Multiple rests are not merged if you create a score with more
+than one tagged section at the same place.
+@end ignore
@node Text encoding
@subsection Text encoding
@section Controlling output
@menu
-* Extracting fragments of music::
-* Skipping corrected music::
+* Extracting fragments of music::
+* Skipping corrected music::
@end menu
@node Extracting fragments of music