-@c Note: -*-texinfo-*-
+q@c Note: -*-texinfo-*-
@c
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@section Note entry
@cindex Note entry
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
@menu
@subsection Notes
-A note is printed by specifying its pitch and then its duration.
+A note is printed by specifying its pitch and then its duration:
@footnote{Notes constitute the most basic elements of LilyPond input,
but they do not form valid input on their own without a @code{\score}
block. However, for the sake of brevity and simplicity we will
by names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C.
+letters span the octave above that C:
@lilypond[fragment,verbatim]
\clef bass
@cindex note names, Dutch
-A sharp is formed by adding @code{-is} to the end of a pitch
-name and a flat is formed by adding @code{-es}. Double sharps and
-double flats are obtained by adding @code{-isis} or @code{-eses}.
-
-These default names are the Dutch note names. In Dutch, @code{aes} is
-contracted to @code{as} in Dutch, but both forms are
-accepted. Similarly, both @code{es} and @code{ees} are accepted.
+A sharp is formed by adding @code{-is} to the end of a pitch name and
+a flat is formed by adding @code{-es}. Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses}. These
+names are the Dutch note names. In Dutch, @code{aes} is contracted to
+@code{as} in Dutch, but both forms are accepted. Similarly, both
+@code{es} and @code{ees} are accepted.
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+octave; each @code{,} lowers the pitch by an octave:
@lilypond[fragment,verbatim,center]
c' c'' es' g' as' gisis' ais'
@end lilypond
-The verbose syntax for pitch specification is
+There is also a verbose syntax for pitch specification:
+@c TODO: junk this?
@cindex @code{\pitch}
@example
\pitch @var{scmpitch}
@refcommands
-Dots are normally moved up to avoid staff lines, except in polyphonic
-situations. The following commands may be used to force a particular
-direction manually.
-
-@refcommand dotsUp
-@refcommand dotsDown
-@refcommand dotsBoth
-
-Notes can be hidden and unhidden with the following commands.
+Notes can be hidden and unhidden with the following commands:
-@refcommand hideNotes
-@refcommand unHideNotes
+@cindex @code{\hideNotes }
+@code{\hideNotes},
+@cindex @code{\unHideNotes }
+@code{\unHideNotes}.
@seealso
+@noindent
@internalsref{NoteEvent}, @internalsref{NoteHead}
@node Chromatic alterations
@cindex cautionary accidental
@cindex parenthesized accidental
(an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
cis' cis' cis'! cis'?
@code{>>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes.
-Additionally, fingerings and articulations may be attached to
-individual pitches of the chord:
-
-@lilypond[singleline,verbatim,relative 1]
- <<f-1 a-^ c-5>>
-@end lilypond
-
-
@node Rests
@subsection Rests
-Rests are entered like notes, with the note name @code{r}.
+Rests are entered like notes, with the note name @code{r}:
@lilypond[singleline,verbatim]
r1 r2 r4 r8
@end lilypond
-Whole bar rests, centered in middle of the bar, are specified using
-@code{R} (capital R); see @ref{Multi measure rests}. See also
-@seeinternals{Rest}.
+Whole bar rests, centered in middle of the bar,
+must be done with multi measure rests. They are discussed in
+@ref{Multi measure rests}.
+
-For some music, you may wish to explicitly specify the rest's vertical
-position. This can be achieved by entering a note with the @code{\rest}
-keyword appended. Rest collision testing will leave these rests alone.
+A rest's vertical position may be explicitly specified by entering a
+note with the @code{\rest} keyword appended. This makes manual
+formatting in polyphonic music easier. Rest collision testing will
+leave these rests alone:
@lilypond[singleline,verbatim]
a'4\rest d'4\rest
a2 s4 a4 \skip 1 a4
@end lilypond
- The @code{s} syntax is only available in Note mode and Chord
-mode. In other situations, you should use the @code{\skip} command,
-which will work outside of those two modes:
+The @code{s} syntax is only available in Note mode and Chord mode. In
+other situations, you should use the @code{\skip} command:
@lilypond[singleline,verbatim]
\score {
and dots: durations are entered as their reciprocal values. For example,
a quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For notes
-longer than a whole you must use variables.
+longer than a whole you must use variables:
@c FIXME: what is an identifier? I do not think it's been introduced yet.
@c and if it has, I obviously skipped that part. - Graham
If the duration is omitted then it is set to the previously entered
-duration. Default for the first note is a quarter note. The duration
+duration. The default for the first note is a quarter note. The duration
can be followed by dots (`@code{.}') in order to obtain dotted note
lengths:
@cindex @code{.}
You can alter the length of duration by a fraction @var{N/M}
appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
-
-@lilypond[fragment,verbatim]
- a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
+In the following example, the first three notes take up exactly two
+beats:
+@lilypond[fragment,relative 2,verbatim]
+ \time 2/4
+ a4*2/3 gis4*2/3 a4*2/3
+ a4
@end lilypond
-Durations can also be produced through GUILE extension mechanism.
+Durations can also be produced using the verbose syntax
+@code{\duration @var{Scheme object}}:
@lilypond[verbatim,fragment]
- c'\duration #(ly:make-duration 2 1)
+ c'\duration #(ly:make-duration 4 1)
@end lilypond
+
+@refcommands
+
+Dots are normally moved up to avoid staff lines, except in polyphonic
+situations. The following commands may be used to force a particular
+direction manually:
+
+@cindex @code{\dotsUp }
+@code{\dotsUp},
+@cindex @code{\dotsDown }
+@code{\dotsDown},
+@cindex @code{\dotsBoth}
+@code{\dotsBoth}.
+
+@seealso
+
+@internalsref{Dots}, @internalsref{DotColumn}.
+
@refbugs
-Dot placement for chords is not perfect. In some cases, dots overlap:
-@lilypond[]
- <<f, c'' d e f>>4.
-@end lilypond
+In dense chords, dots can overlap.
@node Stems
@subsection Stems
@refcommands
-@refcommand stemUp
-@refcommand stemDown
-@refcommand stemBoth
+@cindex @code{\stemUp}
+@code{\stemUp},
+@cindex @code{\stemDown}
+@code{\stemDown},
+@cindex @code{\stemBoth}
+@code{\stemBoth}.
@node Ties
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
+musical phrasing. A tie is entered using the tilde symbol `@code{~}':
@lilypond[fragment,verbatim,center]
e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
are connected. When no note heads match, no ties will be created.
In its meaning a tie is just a way of extending a note duration, similar
-to the augmentation dot: the following example are two ways of notating
-exactly the same concept.
+to the augmentation dot; in the following example there are two ways of
+notating exactly the same concept:
@c
@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-If you need to tie notes over bars, it may be easier to use automatic
+If you need to tie a lot of notes over bars, it may be easier to use automatic
note splitting (See @ref{Automatic note splitting}).
@refcommands
-@refcommand tieUp
-@refcommand tieDown
-@refcommand tieBoth
-@refcommand tieDotted
-@refcommand tieSolid
+@cindex @code{\tieUp }
+@code{\tieUp},
+@cindex @code{\tieDown }
+@code{\tieDown},
+@cindex @code{\tieBoth }
+@code{\tieBoth},
+@cindex @code{\tieDotted }
+@code{\tieDotted},
+@cindex @code{\tieSolid}
+@code{\tieSolid}.
@seealso
tie-engraver into the @internalsref{Thread} context and turning on and
off ties per @internalsref{Thread}.
-Switching staves when a tie is active, will produce a horizontal tie
-on the first note.
+Switching staves when a tie is active, will not produce a slanted tie.
Formatting of ties is a difficult subject. The results are often not
-optimal results.
+optimal.
@cindex @code{\times}
Tuplets are made out of a music expression by multiplying all durations
-with a fraction.
+with a fraction:
@cindex @code{\times}
@example
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
-The property @code{tupletSpannerDuration} specifies how long each bracket
-should last. With this, you can make lots of tuplets while typing
-@code{\times} only once, saving lots of typing.
+The property @code{tupletSpannerDuration} specifies how long each
+bracket should last. With this, you can make lots of tuplets while
+typing @code{\times} only once, saving lots of typing. In the next
+example, there are two triplets shown, while @code{\times} was only
+used once:
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
@refcommands
-@refcommand tupletUp
-@refcommand tupletDown
-@refcommand tupletBoth
+@cindex @code{\tupletUp }
+@code{\tupletUp},
+@cindex @code{\tupletDown }
+@code{\tupletDown},
+@cindex @code{\tupletBoth}
+@code{\tupletBoth}.
@seealso
-@seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
+@internalsref{TupletBracket}, @internalsref{TimeScaledMusic}.
@refbugs
}
@end lilypond
-The @code{EasyNotation} variable overrides a @internalsref{Score}
-context. You probably will want to print it with magnification or a
+The @code{EasyNotation} variable overrides a @internalsref{Score} context.
+You probably will want to print it with magnification or a
large font size to make it more readable. To print with
magnification, you must create a DVI file (with @file{ly2dvi}) and
then enlarge it with something like @file{dvips -x 2000 file.dvi}.
-See @file{man dvips} for details. To print with a larger font, see
-@ref{Font Size}.
+See the @code{dvips} documentation for more details. To print with a
+larger font, see @ref{Font Size}.
@cindex Xdvi
When entering music it is easy to introduce errors. This section deals
with tricks and features of the input language that help when entering
-music, and find and correct mistakes.
-
-Some features of the input language ease entering music, for example
-the use of variables (for splitting up large pieces of music), and
-unfolded repeats for writing repetitive parts. They are described in
-other sections (see @ref{Repeats} and @ref{Assignments}), since they
-are not especially aimed at easing entry
+music, and find and correct mistakes. Some features of the input
+language ease entering music, but also have other applications. They
+are not described in this section.
It is also possible to use external programs, for example GUI
interfaces, or MIDI transcription programs, to enter or edit
Octaves are specified by adding @code{'} and @code{,} to pitch names.
When you copy existing music, it is easy to accidentally put a pitch
in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors
+octave mode prevents these errors: a single error puts the rest of the
+piece off by one octave:
@cindex @code{\relative}
@example
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
+(; this distance is determined without regarding alterations: a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
+@code{ceses}).
-The octave changing marks @code{'} and @code{,} can be added to raise or
-lower the pitch by an extra octave. Upon entering relative mode, an
-absolute starting pitch must be specified that will act as the
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch must be specified that will act as the
predecessor of the first note of @var{musicexpr}.
-Entering music that changes octave frequently is easy in relative mode.
+Here is the relative mode shown in action:
@lilypond[fragment,singleline,verbatim,center]
\relative c'' {
b c d c b c bes a
}
@end lilypond
-And octave changing marks are used for intervals greater than a fourth.
+Octave changing marks are used for intervals greater than a fourth:
@lilypond[fragment,verbatim,center]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. However, other notes
-within the second chord are determined by looking at the immediately
-preceding note.
+to determine the first note of the next chord:
@lilypond[fragment,verbatim,center]
\relative c' {
@cindex @code{barCheckSynchronize}
@cindex @code{|}
-
-Whenever a bar check is encountered during interpretation, a warning
-message is issued if it does not fall at a measure boundary. This can
-help find errors in the input. Depending on the value of
+Bar checks help detect errors in the durations. A bar check is
+entered using the bar symbol, `@code{|}'. Whenever it is encountered
+during interpretation, it should fall on a measure boundary. If it
+does not, a warning is printed. Depending on the value of
@code{barCheckSynchronize}, the beginning of the measure will be
-relocated. A bar check is entered using the bar symbol, `@code{|}'.
+relocated.
+In the next example, the second bar check will signal an error:
@example
- \time 3/4 c2 e4 | g2.
+ \time 3/4 c2 e4 | g2 |
@end example
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
This can be used to skip over the parts of a score that have already
-been checked for errors.
+been checked for errors:
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
+@internalsref{Completion_heads_engraver}:
@example
\paper @{ \translator @{
@} @}
@end example
-For example,
+which will make long notes tied in the following example:
@example
\time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
@node Staff notation
@section Staff notation
-This section describes with music notation that occurs on staff level,
+This section describes music notation that occurs on staff level,
such as keys, clefs and time signatures.
@cindex Staff notation
* Clef::
* Ottava brackets::
* Time signature::
+* Partial measures::
* Unmetered music::
* Bar lines::
@end menu
@syntax
Setting or changing the key signature is done with the @code{\key}
-command.
+command:
@example
@code{\key} @var{pitch} @var{type}
@end example
@refbugs
-The ordering of a key restoration (alterations that change back to
-natural) is wrong when combined with a repeat barline.
+The ordering of a key cancellation is wrong when it is combined with
+repeat bar lines. The cancellation is also printed after a line break.
@seealso
\key f\major c''2 \clef alto g'2
@end lilypond
-Supported clef-names include
+Supported clef-names include:
@c Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. @var{clefname} must
-be enclosed in quotes when it contains underscores or digits. For
+transposed one octave down or up, respectively. Argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
example,
@example
\clef "G_8"
``Ottava'' brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
-@code{set-octavation}
+@code{set-octavation}:
@cindex ottava
@cindex 15ma
a b }
@end lilypond
-Internally the @code{set-octavation} sets @code{ottavation} (eg. to
-@code{"8va"}) and @code{centralCPosition} properties.
+Internally the @code{set-octavation} function sets the properties
+@code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
@seealso
@syntax
The time signature is set or changed by the @code{\time}
-command.
+command:
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-The actual symbol that is printed can be customized with the
-@code{style} property. Setting it to @code{#'()} uses fraction style
-for 4/4 and 2/2 time. There are many more options for its layout.
-See @inputfileref{input/test,time.ly} for more examples.
+The symbol that is printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time. There are many more options for its layout. See
+@inputfileref{input/test,time.ly} for more examples.
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The
-property @code{timeSignatureFraction} determines where bar lines
-should be inserted, and how automatic beams should be generated.
-Changing the value of @code{timeSignatureFraction} also causes the
-symbol to be printed.
+property @code{measureLength} determines where bar lines should be
+inserted, and how automatic beams should be generated. Changing the
+value of @code{timeSignatureFraction} also causes the symbol to be
+printed.
More options are available through the Scheme function
@code{set-time-signature}. In combination with the
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the 9/8
measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}.
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
@lilypond[verbatim]
\score { \notes \relative c'' {
Automatic beaming does not use measure grouping specified with
@code{set-time-signature}.
-
-@subsection Partial
+@node Partial measures
+@subsection Partial measures
@cindex Partial
@cindex anacrusis
-@cindex upbeat
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
-Partial measures, for example in upbeats, are entered using the
+Partial measures, for example in upsteps, are entered using the
@code{\partial} command:
@lilypond[fragment,verbatim]
-\partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+\partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
@end lilypond
The syntax for this command is
@refcommands
-@refcommand cadenzaOn
-@refcommand cadenzaOff
+@cindex @code{\cadenzaOn }
+@code{\cadenzaOn},
+@cindex @code{\cadenzaOff }
+@code{\cadenzaOff}.
@node Bar lines
@subsection Bar lines
@cindex repeat bars
-Bar lines delimit measures, but are also used to indicate
-repeats. Line breaks may only happen on barlines.
+Bar lines delimit measures, but are also used to indicate repeats.
+Normally, they are inserted automatically. Line breaks may only
+happen on barlines.
@syntax
-Bar lines are inserted automatically. Special types
+ Special types
of barlines can be forced with the @code{\bar} command:
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
-The following bar types are available
+The following bar types are available:
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
\bar "|."
@end lilypond
-In scores with many staves, the barlines are automatically placed at
-top level, and they are connected between different staves of a
-@internalsref{StaffGroup}:
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staffs. The resulting bar lines are
+connected between different staves of a @internalsref{StaffGroup}:
+@c
@lilypond[fragment, verbatim]
< \context StaffGroup <
\context Staff = up { e'4 d'
@end lilypond
-The command @code{\bar @var{bartype}} is a short cut for
-doing @code{\property Score.whichBar = @var{bartype}}
-Whenever @code{whichBar} is set to a string, a bar line of that type is
-created. @code{whichBar} is usually set automatically: at the start of
-a measure it is set to @code{defaultBarType}. The contents of
-@code{repeatCommands} is used to override default measure bars.
+The command @code{\bar @var{bartype}} is a short cut for doing
+@code{\property Score.whichBar = @var{bartype}} Whenever
+@code{whichBar} is set to a string, a bar line of that type is
+created. At the start of a measure it is set to
+@code{defaultBarType}. The contents of @code{repeatCommands} are used
+to override default measure bars.
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar }. These settings take precedence over the automatic
+Property @code{whichBar} can also be set directly, using @code{\property}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
@cindex whichBar
@lilypond[verbatim,fragment]
\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
}
@end lilypond
-The separator causes @internalsref{Voice} contexts to be instantiated,
-bearing the names @code{"1"}, @code{"2"}, etc. In each of these
-contexts, vertical direction of slurs, stems, etc. are set
+The separator causes @internalsref{Voice} contexts to be
+instantiated. They
+bear the names @code{"1"}, @code{"2"}, etc. In each of these
+contexts, vertical direction of slurs, stems, etc. is set
appropriately.
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part.
+a stem directions and horizontal shift for each part:
@c
@lilypond[singleline, verbatim]
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are:
+the @internalsref{NoteCollision} object, they are merged:
@lilypond[verbatim,fragment,singleline]
\relative c'' \context Voice < {
g8 g8
c8 c4. } \\ { c2 c2 } >
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem.
+LilyPond also vertically shifts rests that are opposite of a stem:
@lilypond[singleline,fragment,verbatim]
-@refcommand oneVoice
-@refcommand voiceOne
-@refcommand voiceTwo
-@refcommand voiceThree
-@refcommand voiceFour
+@cindex @code{\oneVoice }
+@code{\oneVoice},
+@cindex @code{\voiceOne }
+@code{\voiceOne},
+@cindex @code{\voiceTwo }
+@code{\voiceTwo},
+@cindex @code{\voiceThree }
+@code{\voiceThree},
+@cindex @code{\voiceFour }
+@code{\voiceFour}.
The following commands specify in what chords of the current voice
should be shifted: the outer voice has @code{\shiftOff}, and the inner
voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
-@refcommand shiftOn
-@refcommand shiftOnn
-@refcommand shiftOnnn
-@refcommand shiftOff
+@cindex @code{\shiftOn}
+@code{\shiftOn},
+@cindex @code{\shiftOnn}
+@code{\shiftOnn},
+@cindex @code{\shiftOnnn}
+@code{\shiftOnnn},
+@cindex @code{\shiftOff}
+@code{\shiftOff}.
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
+When using @code{merge-differently-headed} with an upstem 8th or a shorter
+note, and a downstem half note, the 8th note gets the wrong offset.
+
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases.
+the metrum. They are inserted automatically in most cases:
@lilypond[fragment,verbatim, relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@cindex @code{[}
In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the auto beamer will not beam over rests or
-bar lines, If you want that, specify the begin and end point manually
-using @code{[} and @code{]}.
+algorithm. For example, the auto beamer will not put beams over rests
+or bar lines. Such beams are specified by manually: the begin and end
+point are marked with @code{[} and @code{]}:
@lilypond[fragment,relative,verbatim]
\context Staff {
The property @code{subdivideBeams} can be set in order to subdivide
-all 16th or shorter beams at beat positions. This accomplishes the
-same effect as twiddling with @code{stemLeftBeamCount} and
-@code{stemRightBeamCount}, but it take less typing.
+all 16th or shorter beams at beat positions, as defined by the
+@code{beatLength} property . This accomplishes the same effect as
+twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
+but it take less typing:
@lilypond[relative=1,verbatim,noindent]
are defined in @file{scm/auto-beam.scm}.
The value of @code{autoBeamSettings} is changed using
-@code{\override} and unset using @code{\revert}:
+@code{\override} and restored with @code{\revert}:
@example
\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 3 8)
@refcommands
-@refcommand autoBeamOff
-@refcommand autoBeamOn
+@cindex @code{\autoBeamOff }
+@code{\autoBeamOff},
+@cindex @code{\autoBeamOn }
+@code{\autoBeamOn}.
@refbugs
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, i.e., you will have to specify manual beams to get:
+durations, i.e. you will have to specify manual beams to get:
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
@section Accidentals
@cindex Accidentals
-This section describes how to change the way that LilyPond automatically
-inserts accidentals before the running notes.
+This section describes how to change the way that accidentals are
+inserted automatically before the running notes.
@menu
defined in @file{ly/property-init.ly}.
@cindex @file{property-init.ly}
-The variables set properties in the ``Current'' context (see
+The variables set properties in the ``@code{Current}'' context (see
@ref{Context properties}). This means that the variables should
normally be added right after the creation of the context in which the
accidental typesetting described by the variable is to take
@end lilypond
Hence you should only use @code{\voiceAccidentals} if the voices
are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g., a conductor) then you use
+used by one musician (e.g. a conductor) then you use
@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
instead.
century.
The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
- accidentals also get cancelled in other octaves. Further more,
+ accidentals also get cancelled in other octaves. Furthermore,
in the same octave, they also get cancelled in the following measure:
@lilypond[singleline,fragment,verbatim]
\modernAccidentals
@cindex @code{\modernCautionaries}
This rule is similar to @code{\modernAccidentals}, but the
``extra'' accidentals (the ones not typeset by
- @code{\defaultAccidentals}) are typeset as cautionary accidentals
- (i.e. in reduced size):
+ @code{\defaultAccidentals}) are typeset as cautionary accidentals.
+ They are printed in reduced size or with parentheses:
@lilypond[singleline,fragment,verbatim]
\modernCautionaries
cis' c'' cis'2 | c'' c'
@item \forgetAccidentals
@cindex @code{\forgetAccidentals}
This is sort of the opposite of @code{\noResetKey}: Accidentals
- are not remembered at all - and hence all accidentals are
+ are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music:
@lilypond[singleline,fragment,verbatim,relative]
@refcommands
-@refcommand defaultAccidentals
-@refcommand voiceAccidentals
-@refcommand modernAccidentals
-@refcommand modernCautionaries
-@refcommand modernVoiceAccidentals
-@refcommand modernVoiceCautionaries
-@refcommand pianoAccidentals
-@refcommand pianoCautionaries
-@refcommand noResetKey
-@refcommand forgetAccidentals
+@cindex @code{\defaultAccidentals }
+@code{\defaultAccidentals},
+@cindex @code{\voiceAccidentals }
+@code{\voiceAccidentals},
+@cindex @code{\modernAccidentals }
+@code{\modernAccidentals},
+@cindex @code{\modernCautionaries }
+@code{\modernCautionaries},
+@cindex @code{\modernVoiceAccidentals }
+@code{\modernVoiceAccidentals},
+@cindex @code{\modernVoiceCautionaries }
+@code{\modernVoiceCautionaries},
+@cindex @code{\pianoAccidentals }
+@code{\pianoAccidentals},
+@cindex @code{\pianoCautionaries }
+@code{\pianoCautionaries},
+@cindex @code{\noResetKey }
+@code{\noResetKey},
+@cindex @code{\forgetAccidentals }
+@code{\forgetAccidentals}.
@seealso
Currently the simultaneous notes are considered to be entered in
sequential mode. This means that in a chord the accidentals are
-typeset as if the notes in the chord happened one at a time - in the
+typeset as if the notes in the chord happened once at a time - in the
order in which they appear in the input file.
This is only a problem when there are simultaneous notes whose
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
@internalsref{Voice} context. Its value is a pair of symbols, specifying
-the attachment type of the left and right end points.
+the attachment type of the left and right end points:
@lilypond[fragment,relative,verbatim]
\slurUp
@refcommands
-@refcommand slurUp
-@refcommand slurDown
-@refcommand slurBoth
-@refcommand slurDotted
-@refcommand slurSolid
+@cindex @code{\slurUp }
+@code{\slurUp},
+@cindex @code{\slurDown }
+@code{\slurDown},
+@cindex @code{\slurBoth }
+@code{\slurBoth},
+@cindex @code{\slurDotted }
+@code{\slurDotted},
+@cindex @code{\slurSolid }
+@code{\slurSolid}.
@seealso
@refbugs
Producing nice slurs is a difficult problem, and LilyPond currently
-uses a simple, empiric method to produce slurs. In some cases, the
-results of this method are ugly.
+uses a simple, empiric method to produce slurs. In some cases, its
+results are ugly.
@cindex Adjusting slurs
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
-respectively.
+respectively:
@lilypond[fragment,verbatim,center,relative]
\time 6/4 c'-\( d-( e-) f-( e-) d-\)
@refcommands
-@refcommand phrasingSlurUp
-@refcommand phrasingSlurDown
-@refcommand phrasingSlurBoth
+@cindex @code{\phrasingSlurUp }
+@code{\phrasingSlurUp},
+@cindex @code{\phrasingSlurDown }
+@code{\phrasingSlurDown},
+@cindex @code{\phrasingSlurBoth }
+@code{\phrasingSlurBoth},
@seealso
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}.
+Breath marks are entered using @code{\breathe}:
-@lilypond[fragment,relative]
+@lilypond[fragment,relative,verbatim]
c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tweaked by overriding the
-@code{text} property of the @code{BreathingSign} grob with the name of
+@code{text} property of the @code{BreathingSign} layout object with the name of
any glyph of @ref{The Feta font}. For example,
@lilypond[fragment,verbatim,relative]
c'4
@end example
In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed
+paper output, a metronome marking is printed:
@cindex @code{\tempo}
@lilypond[fragment,verbatim]
\tempo 8.=120 c''1
start and ending note of the spanner.
The string to be printed, as well as the style, is set through object
-properties.
+properties:
@lilypond[fragment,relative,verbatim]
\relative c' { c1
pieces. LilyPond supports a simple form of nested horizontal brackets.
To use this, add the @internalsref{Horizontal_bracket_engraver} to
@internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}.
+@code{\startGroup} and closed with @code{\stopGroup}:
@lilypond[singleline,verbatim]
\score { \notes \relative c'' {
@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
@inputfileref{input/regression,note-group-bracket.ly}.
-@refbugs
-
-Bracket endings should be angled/slanted. (TODO)
-
-
-
-
@node Articulations
@section Articulations
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
by adding a dash and the character signifying the
-articulation. They are demonstrated here.
+articulation. They are demonstrated here:
@lilypondfile[notexidoc]{script-abbreviations.ly}
Other symbols can be added using the syntax
-@var{note}@code{-\}@var{name}. Again, they can be forced up or down
-using @code{^} and @code{_}.
+@var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
+can be forced up or down using @code{^} and @code{_}:
@cindex accent
@cindex marcato
@refcommands
-@refcommand scriptUp
-@refcommand scriptDown
-@refcommand scriptBoth
+@cindex @code{\scriptUp }
+@code{\scriptUp},
+@cindex @code{\scriptDown }
+@code{\scriptDown},
+@cindex @code{\scriptBoth}
+@code{\scriptBoth}.
@seealso
<<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
@end lilypond
-Fingering for chords can be notated like this:
-
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches:
@lilypond[verbatim,singleline,fragment,relative=1]
<< c-1 e-2 g-3 b-5 >> 4
+@end lilypond
+
+Setting @code{fingerHorizontalDirection} will put the fingerings next
+to the note head:
+
+@lilypond[verbatim,singleline,fragment,relative=1]
\property Voice.fingerHorizontalDirection = #LEFT
- << c-1 es-3 g-5 >> 4
+ << c-1 es-2 g-4 bes-5 >> 4
\property Voice.fingerHorizontalDirection = #RIGHT
- << c-1 e-2 g-3 b-5 >>4
- \property Voice.fingerHorizontalDirection = #LEFT
- << c_1 e-2 g-3 b^5 >>4
+ << c-1 es-2 g-4 bes-5 >> 4
@end lilypond
@seealso
@ref{Text markup}) above or below notes by using a string:
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account.
+will be taken into account:
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
-It is possible to use @TeX{} commands in the strings, but this should be
-avoided because it makes it impossible for LilyPond to compute the
-exact length of the string, which may lead to collisions. Also, @TeX{}
-commands will not work with direct PostScript output.
+It is possible to use @TeX{} commands in the strings, but this should
+be avoided because the exact dimensions of the string can then no
+longer be computed.
@seealso
@node Grace notes
@subsection Grace notes
-
-
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out
+Grace notes are ornaments that are written out:
@lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
[c16 d16] } c4
Every point in musical time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples.
+example is shown here with timing tuples:
@lilypond[]
\score { \notes \relative c''{
c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
}
-\paper { linewidth = 8.\cm }
+\paper { linewidth = 12.\cm }
}
@end lilypond
-The placement of these grace notes is synchronized between different
-staves.
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth graces notes for
+every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
- \context Staff = SB { c'4 \grace { g8 b } c4 } >
+ \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
@end lilypond
@internalsref{Stem}. For proper matching of override and reverts of
such properties, it is necessary to use a Scheme function.
-The following fragment overrides the default formatting Grace style stems.
+The following fragment overrides the default formatting Grace style stems:
@example
#(add-to-grace-init "Voice" 'Stem 'stroke-style '())
@end example
-The @code{\override} is carefully matched with a @code{\revert}.
+The @code{\override} is carefully matched with a @code{\revert}:
@cindex slash
@cindex grace slash
}
@end lilypond
+@noindent
+By adjusting the duration of the skip note (here it is a half-note),
+the space between the main-note and the grace is adjusted.
+
A @code{\grace} section has some default values, and LilyPond will
use those default values unless you specify otherwise inside the
@code{\grace} section. For example, if you specify \slurUp
@seealso
-@internalsref{GraceMusic}.
+@internalsref{GraceMusic}
@refbugs
Grace notes cannot be used in the smallest size (@file{paper11.ly}).
+A score that starts with an @code{\grace} section needs an explicit
+@code{\context Voice} declaration, otherwise the main note and grace
+note end up on different staffs.
+
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, barlines, etc. are also synchronized. Take
-care when you mix staves with grace notes and staves without.
+care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
@end lilypond
Grace sections should only be used within sequential music
-expressions. Nesting, juxtaposing, or ending sequential music with a
-grace section is not supported, and might produce crashes or other
-errors.
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
-Overriding settings for grace music using @code{add-to-grace-init}
-cannot be done in a modular way.
+Overriding settings for grace music globally cannot be done in a
+modular way. A kludge (@code{add-to-grace-init}) is defined in
+@file{ly/grace-init.ly}.
@node Glissando
@refbugs
-Printing of an additional text (such as @emph{gliss.}) must be done
-manually.
+Additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
Absolute dynamic marks are specified using an variable after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
@lilypond[verbatim,singleline,fragment,relative]
c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
-A crescendo mark is started with @code{\cr} and terminated with
-@code{\endcr}, and decrescendi similarly with @code{\decr} and
-@code{\enddecr}. There are also shorthands for these marks. A
-crescendo can be started with @code{\<} and a decrescendo can be
-started with @code{\>}. Either one can be terminated with @code{\!}.
-Because these marks are bound to notes, if you must use spacer notes
-if multiple marks during one note are needed.
+A crescendo mark is started with @code{\<} and terminated with
+@code{\!}. A decrescendo is started with @code{\>} and also terminated
+with @code{\!}. Because these marks are bound to notes, if you must
+use spacer notes if multiple marks during one note are needed:
@lilypond[fragment,verbatim,center,quote]
c''-\< c''-\! d''-\decr e''-\rced
is an example how to do it:
@lilypond[fragment,relative=2,verbatim]
- c4 \cresc c4 \endcresc c4
+ c4 \cresc c4 c c c \endcresc c4
@end lilypond
-
@cindex crescendo
@cindex decrescendo
You can also supply your own texts:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.crescendoText = "cresc. poco"
+ \property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
a'2-\mf-\< a a a-\!
}
@refcommands
-@refcommand dynamicUp
-@refcommand dynamicDown
-@refcommand dynamicBoth
+@cindex @code{\dynamicUp }
+@code{\dynamicUp},
+@cindex @code{\dynamicDown }
+@code{\dynamicDown},
+@cindex @code{\dynamicBoth }
+@code{\dynamicBoth}.
@cindex direction, of dynamics
@internalsref{Hairpin}. Vertical positioning of these symbols is
handled by the @internalsref{DynamicLineSpanner} object.
-If you want to adjust padding or vertical direction of the dynamics,
-you must set properties for the @internalsref{DynamicLineSpanner}
-object.
+If you want to adjust padding or vertical direction of the dynamics, you
+must set properties for the @internalsref{DynamicLineSpanner} object.
@node Repeats
@refbugs
- If you do a nested repeat like
+If you do a nested repeat like
@example
\repeat @dots{}
@refbugs
Timing information is not remembered at the start of an alternative,
-so you have to reset timing information after a repeat, e.g. using a
-bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
-or entering @code{\partial}. Similarly, slurs or ties are also not
-repeated.
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering
+@code{\partial}. Similarly, slurs or ties are also not repeated.
@node Manual repeat commands
repeats. Its value is a Scheme list of repeat commands, where each repeat
command can be
-@table @code
-@item 'start-repeat
- Print a |: bar line
-@item 'end-repeat
- Print a :| bar line
-@item (volta . @var{text})
- Print a volta bracket saying @var{text}. The text can be specified as
+@table @asis
+@item the symbol @code{start-repeat},
+ which prints a @code{|:} bar line,
+@item the symbol @code{end-repeat},
+ which prints a @code{:|} bar line,
+@item the list @code{(volta @var{text})},
+ which prints a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
-alphabetic characters.
-@item (volta . #f)
- Stop a running volta bracket
+alphabetic characters. Or,
+@item the list @code{(volta #f)}, which
+ stops a running volta bracket:
@end table
@lilypond[verbatim, fragment]
@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}
+@internalsref{UnfoldedRepeatedMusic},
@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+style:
@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
@seealso
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
-@internalsref{StemTremolo}. @internalsref{TremoloEvent}.
+Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
+are @internalsref{StemTremolo}s. The music expression is
+@internalsref{TremoloEvent}.
@refbugs
-The single stem tremolo @emph{must} be entered without @code{@{} and
+The single stem tremolo must be entered without @code{@{} and
@code{@}}.
@node Tremolo subdivisions
`@code{:}[@var{length}]' after the note. The length must be at least 8.
A @var{length} value of 8 gives one line across the note stem. If the
length is omitted, then then the last value (stored in
-@code{Voice.tremoloFlags}) is used.
+@code{Voice.tremoloFlags}) is used:
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of a one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes.
+patterns that divide the measure length are replaced by slashes:
@lilypond[verbatim,singleline]
\context Voice { \repeat "percent" 4 { c'4 }
@internalsref{DoublePercentRepeat}.
-@refbugs
-
-Single measure and double measure percent-repeats cannot be nested.
@node Rhythmic music
@section Rhythmic music
@menu
* Percussion staves::
-* Percussion midi output::
+* Percussion MIDI output::
@end menu
@node Percussion staves
@cindex percussion
@cindex drums
-To typeset more than one piece of percussion to be played by the same
-musician one typically uses a multiline staff where each staff
-position refers to a specific piece of percussion.
+A percussion part for more than one instrument typically uses a
+multiline staff where each position in the staff refers to one piece
+of percussion.
@syntax
Percussion staves are typeset with help of a set of Scheme
functions. The system is based on the general MIDI drum-pitches.
-Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
+Include @file{drumpitch-init.ly} to use drum pitches. This file
defines the pitches from the Scheme variable @code{drum-pitch-names},
the definition of which can be read in @file{scm/drums.scm}. Each
piece of percussion has a full name and an abbreviated name, and both
the full name or the abbreviation may be used in input files.
-To typeset the music on a staff apply the function @code{drums->paper}
+to typeset the music on a staff apply the function @code{drums->paper}
to the percussion music. This function takes a list of percussion
instrument names, notehead scripts and staff positions (that is:
pitches relative to the C-clef) and transforms the input
Currently the following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five-line staff.
+to typeset a typical drum kit on a five-line staff:
@lilypond[noindent]
\include "drumpitch-init.ly"
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
+select the toms that produce the desired result, i.e. to get toms on
the three middle lines you use @code{tommh}, @code{tomml} and
@code{tomfh}.
Because general MIDI does not contain rimshots the sidestick is used
for this purpose instead.
@item 'timbales
-To typeset timbales on a two line staff.
+to typeset timbales on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'congas
-To typeset congas on a two line staff.
+to typeset congas on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'bongos
-To typeset bongos on a two line staff.
+to typeset bongos on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
+to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
list at the top of your file:
@lilypond[singleline, verbatim]
-#(define mydrums `(
+#(set-drum-kit 'mydrums `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(snare default #f ,(ly:make-pitch 0 1 0))
(hihat cross #f ,(ly:make-pitch 0 5 0))
the existing list:
@example
-#(define mydrums (append `(
+#(set-drum-kit mydrums (append `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(lowtom diamond #f ,(ly:make-pitch -1 6 0))
-) drums ))
+) (get-drum-kit 'drums)))
@end example
The file @file{drumpitch-init.ly} replaces the normal pitch names, so
you have to reinclude @file{nederlands.ly} after the
-drum-pattern-definitions to enter normal notes.
+drum-pattern-definitions to enter normal notes:
@c
@lilypond[singleline,verbatim]
\include "drumpitch-init.ly"
}
@end lilypond
-@node Percussion midi output
-@subsection Percussion midi output
+@node Percussion MIDI output
+@subsection Percussion MIDI output
-In order to produce correct midi output you need to produce two score
-blocks---one for the paper and one for the midi output. To use the
+In order to produce correct MIDI output you need to produce two score
+blocks---one for the paper and one for the MIDI output. To use the
percussion channel you set the property @code{instrument} to
-@code{'drums}. Because the drum-pitches themself are similar to the
-general midi pitches all you have to do is to insert the voices with
-none of the scheme functions to get the correct midi output:
+@code{'drums}. Because the drum-pitches themselves are similar to the
+general MIDI pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct MIDI output:
@example
\score @{
@refbugs
-This scheme is to be considered a temporary implementation.
+This scheme is a temporary implementation.
@node Piano music
\autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
@end example
The autochanger switches on basis of pitch (central C is the turning
-point), and it looks ahead skipping over rests to switch rests in
+point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
@lilypond[verbatim,singleline,quote]
s1*2
} > }
@end lilypond
-Spacer rests are used to prevent the bottom staff from
+
+@noindent
+In this example, spacer rests are used to prevent the bottom staff from
terminating too soon.
+@seealso
+
+@internalsref{AutoChangeMusic}
+
@refbugs
The staff switches often do not end up in optimal places. For high
@example
\translator Staff = @var{staffname} @var{music}
@end example
+
+@noindent
The string @var{staffname} is the name of the staff. It switches the
current voice from its current staff to the Staff called
@var{staffname}. Typically @var{staffname} is @code{"up"} or
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord.
+note or chord:
-The symbols that are printed can be modified by setting
-@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
-Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
-of @internalsref{SustainPedal} for more information.
+@lilypond[fragment,verbatim]
+ c'4-\sustainDown c'4-\sustainUp
+@end lilypond
+
+What is printed can be modified by setting @code{pedal@var{X}Strings},
+where @var{X} is one of the pedal types: @code{Sustain},
+@code{Sostenuto} or @code{UnaCorda}. Refer to the generated
+documentation of @internalsref{SustainPedal} for more information.
Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedal-type} property of @internalsref{SustainPedal} objects:
+@code{pedalSustainStyle} property to @code{bracket} objects:
@lilypond[fragment,verbatim]
-\property Staff.SustainPedal \override #'pedal-type = #'bracket
+ \property Staff.pedalSustainStyle = #'bracket
c''4-\sustainDown d''4 e''4
a'4-\sustainUp-\sustainDown
f'4 g'4 a'4-\sustainUp
obtained by setting @code{pedal-type} to @code{mixed}:
@lilypond[fragment,verbatim]
-\property Staff.SustainPedal \override #'pedal-type = #'mixed
+ \property Staff.pedalSustainStyle = #'mixed
c''4-\sustainDown d''4 e''4
c'4-\sustainUp-\sustainDown
f'4 g'4 a'4-\sustainUp
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (see the detailed documentation of
-@internalsref{PianoPedalBracket}) can be modified. For example, the bracket
-may be extended to the end of the note head.
+@code{PianoPedalBracket} objects (, see the detailed documentation of
+@internalsref{PianoPedalBracket},) can be modified. For example, the bracket
+may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord.
+@code{\arpeggio} to a chord:
@lilypond[fragment,relative,verbatim]
<<c e g c>>-\arpeggio
@end lilypond
-When an arpeggio crosses staves in piano music, you attach an arpeggio
-to the chords in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}.
+When an arpeggio crosses staves, you attach an arpeggio to the chords
+in both staves, and set
+@internalsref{PianoStaff}.@code{connectArpeggios}:
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
>
@end lilypond
-This command creates @internalsref{Arpeggio} objects. Cross staff
-arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
-
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line. This can be typeset by setting
-@code{arpeggio-direction}.
+@code{arpeggio-direction}:
@lilypond[fragment,relative,verbatim]
\context Voice {
arpeggiate the chord. To draw these brackets, set the
@code{molecule-callback} property of @code{Arpeggio} or
@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before.
+@code{\arpeggio} statements within the chords as before:
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
@refcommands
-@refcommand arpeggioBracket
-@refcommand arpeggio
+@cindex @code{\arpeggioBracket }
+@code{\arpeggioBracket},
+@cindex @code{\arpeggio}
+@code{\arpeggio}.
+
+@seealso
+
+@internalsref{ArpeggioEvent} expression lead to
+@internalsref{Arpeggio} objects. Cross staff arpeggios are
+@internalsref{PianoStaff}.@internalsref{Arpeggio}.
@refbugs
@refcommands
-@refcommand showStaffSwitch
-@refcommand hideStaffSwitch
+@cindex @code{\showStaffSwitch }
+@code{\showStaffSwitch},
+@cindex @code{\hideStaffSwitch }
+@code{\hideStaffSwitch}.
@node Vocal music
@section Vocal music
-This section discusses how to enter, and print lyrics.
+This section discusses how to enter and print lyrics.
@menu
* Entering lyrics::
Subsequent characters of a word can be any character that is not a digit
and not white space. One important consequence of this is that a word
can end with @code{@}}. The following example is usually a bug. The
-syllable includes a @code{@}}, and hence the opening brace is not balanced.
+syllable includes a @code{@}}, and hence the opening brace is not balanced:
@example
\lyrics @{ twinkle@}
@end example
-which may be confusing.
@cindex @code{\property}, in @code{\lyrics}
Similarly, a period following a alphabetic sequence, is included in the
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in @internalsref{Lyrics}
-context:
+Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
@example
\context Lyrics \lyrics @dots{}
@end example
entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\addlyrics} expression
+melody and the lyrics with the @code{\addlyrics} expression:
@example
\addlyrics
\notes @dots{}
@cindex SATB
@cindex choral score
-An example of a SATB score setup is in the file
+A complete example of a SATB score setup is in the file
@inputfileref{input/template,satb}.
@seealso
done automatically when corresponding lyric lines and melodies are
marked.
-To this end, give the @internalsref{Voice} context an identity,
+To this end, give the @internalsref{Voice} context an identity:
@example
\context Voice = duet @{
\time 3/4
Then set the @internalsref{LyricsVoice} contexts to names starting with
that identity followed by a dash. In the preceding example, the
@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
+@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
@example
\context LyricsVoice = "duet-1" @{
Hi, my name is bert. @}
Ooooo, ch\'e -- ri, je t'aime. @}
@end example
The convention for naming @internalsref{LyricsVoice} and
-@internalsref{Voice} must also be used to get melismata on rests
-correct.
+@internalsref{Voice} must also be used to get melismata correct in
+conjunction with rests.
-The complete example is shown here.
+The complete example is shown here:
@lilypond[singleline,verbatim]
\score {
\addlyrics
Stanza numbers, or the names of the singers can be added by setting
@code{LyricsVoice.Stanza} (for the first system) and
@code{LyricsVoice.stz} for the following systems. Notice how dots are
-surrounded with spaces in @code{\lyrics} mode.
+surrounded with spaces in @code{\lyrics} mode:
@example
\property LyricsVoice . stanza = "Bert"
\property LyricsVoice . stanza = "Ernie"
@end example
-You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
-lyrics. This can confuse the LilyPond -- for example, this might put
-(empty) lyrics under rests. To remedy this, use @code{\skip} instead.
+To make empty spaces in lyrics, use @code{\skip}.
making or a music identifier @code{\foo} containing the syllable
`bar'. The force the latter interpretation, use
@example
- foo = \lyrics bar
+ foo = \lyrics bar4
@end example
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
-@internalsref{TabVoice} contexts.
+@internalsref{TabVoice} contexts:
@lilypond[fragment,verbatim]
\notes \context TabStaff {
}
@end lilypond
-If you do not specify a string number then one is selected
-automatically: the first string that does not give a fret number less
-than @code{minimumFret} is selected. The default value for
-@code{minimumFret} is 0.
+When no string is specified, the first string that does not give a
+fret number less than @code{minimumFret} is selected. The default
+value for @code{minimumFret} is 0:
@example
You can change the number of strings, by setting the number of lines
in the @internalsref{TabStaff} (the @code{line-count} property of
@internalsref{TabStaff} can only be changed using
-@code{\outputproperty}, for more information, see @ref{Tuning objects}.
+@code{\outputproperty}, for more information, see @ref{Tuning
+objects}).
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
being the pitch (measured in semitones relative to central C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order: thus the notes are e, a, d, and
-g.
+by default middle C, in string order. Thus, the notes are e, a, d, and
+g:
@lilypond[fragment,verbatim]
\context TabStaff <
note text. The default is @code{fret-number-tablature-format}, which
uses the fret number. For instruments that do not use this notation,
you can create a special tablature formatting function. This function
-takes three argument: the string number, the string tuning and the
-note pitch.
+takes three argument: string number, string tuning and note pitch.
@refbugs
-As tablature is a recent feature, most of the guitar special effects
-such as bend are not yet supported.
+Most of the guitar special effects such as bend have not been
+implemented yet.
+
@node Chord names
@section Chord names
@cindex Chords
-LilyPond has support for both entering and printing named chords.
-These chords are internally represented as a set of pitches. Therefore
-they can be entered by name and printed as notes, entered as notes and
-printed as chord names, or (the most common case) entered them by
-name, and print them as name. The following fragment shows these
-options:
+LilyPond has support for both printing chord names. Chords may be
+entered in musical chord notation, i.e. @code{<< .. >>}, but they can
+also be entered by name. Internally, the chords are represented as a
+set of pitches, so they can be transposed:
+
@lilypond[verbatim,singleline]
twoWays = \notes \transpose c c' {
@end lilypond
This example also shows that the chord printing routines do not try to
-be intelligent. The chord @code{f bes d}, is not interpreted as an
-inversion.
+be intelligent. The last chord (@code{f bes d}) is not interpreted as
+an inversion.
@menu
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch, for example,
+like a common pitch:
@lilypond[fragment,verbatim,quote, relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number, for example
+modifier, and optionally, a number:
@c
@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
-number, for example.
+number:
@lilypond[fragment,verbatim]
\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
-the colon, and are separated by dots. For example
+the colon, and are separated by dots:
@c
@lilypond[verbatim,fragment,quote]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example:
+to the number:
@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
-must come after the additions.
+must come after the additions:
@lilypond[verbatim,fragment]
\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported
+supported:
@table @code
@item m
is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step
+ the 7th step.
@item aug
is the augmented chord. This modifier raises the 5th step.
@item maj
step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
-Modifiers can be mixed with additions.
+Modifiers can be mixed with additions:
@lilypond[verbatim,fragment]
\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex @code{sus}
@cindex @code{m}
-Since the unaltered 11 does sound well when combined with the
-unaltered 3, the 11 is removed in this case, unless it is added
-explicitly). For example,
+Since an unaltered 11 does not sound good when combined with an
+unaltered 13, the 11 is removed in this case (, unless it is added
+explicitly):
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord.
+@code{/}@var{pitch} to the chord:
@lilypond[fragment,verbatim,center]
\chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-If you do not want to remove the bass note from the chord, but rather
-add the note, then you can use @code{/+}@var{pitch}.
+
+A bass note can be added instead of transposed out of the chord,
+by using @code{/+}@var{pitch}.
@lilypond[fragment,verbatim,center]
\chords { c1 c/+g c/+f }
Each step can only be present in a chord once. The following
simply produces the augmented chord, since @code{5+} is interpreted
-last.
+last:
@cindex clusters
@lilypond[verbatim,fragment]
\chords { c:5.5-.5+ }
@end lilypond
-In chord mode, dashes and carets are used to indicate chord additions
-and subtractions, so articulation scripts cannot be entered.
-
@node Printing chord names
@subsection Printing chord names
@cindex chord names
@cindex chords
-For displaying printed chord names, use the @internalsref{ChordNames}
-context. The chords may be entered either using the notation
-described above, or directly using @code{<<} and @code{>>}.
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation
+described above, or directly using @code{<<} and @code{>>}:
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
+ \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
}
\score {
\notes<
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
-the start of a new line.
+the start of a new line:
-@lilypond[verbatim]
+@lilypond[verbatim, linewidth=9cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\scheme }
\context Staff \transpose c c' \scheme
>
-\paper{linewidth= 9.\cm}
}
@end lilypond
The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (See @ref{Literature}).
+Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
+following properties:
-The Ignatzek chord name formatting can be tuned in a number of ways
-through the following properties:
@table @code
-
@cindex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
\context ChordNames \chords {
c:7sus4
\property ChordNames.chordNameSeparator
- = \markup { "|" }
+ = \markup { \typewriter "|" }
c:7sus4 }
@end lilypond
@cindex chordNoteNamer
@item chordNoteNamer
-The default is to print single notes (as for instance the bass note)
-using the @code{chordRootNamer}. However, by setting this function to a non-null
-value you can specify a different function. I.e. you could use letters
-in lower case for the base note.
+The default is to print single pitch, e.g. the bass note, using the
+@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+to a specialized function to change this behavior. For example, the
+base can be printed in lower case.
@end table
@refcommands
-@refcommand germanChords
-@refcommand semiGermanChords
+@cindex @code{\germanChords }
+@code{\germanChords},
+@cindex @code{\semiGermanChords }
+@code{\semiGermanChords}.
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
-@inputfileref{input/test,bar-number-every-fifth.ly}
-
-@lilypondfile[notexidoc]{bar-number-every-fifth.ly}
-
-The start of that numbering can also be reset, as demonstrated in
-@inputfileref{input/test,bar-number-every-five-reset.ly}.
+@inputfileref{input/test,bar-number-regular-interval.ly}
-@lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
+@lilypondfile[notexidoc]{bar-number-regular-interval.ly}
@seealso
@internalsref{BarNumber}.
@inputfileref{input/test,bar-number-every-five-reset.ly}.
-@inputfileref{input/test,bar-number-every-fifth.ly}
+@inputfileref{input/test,bar-number-regular-interval.ly}
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, You have to twiddle with the
-@internalsref{padding} property of @internalsref{BarNumber} if your
-score starts with a @internalsref{StaffGroup}.
+there is one at the top. To solve this, In that case, the
+@internalsref{padding} property of @internalsref{BarNumber} can be
+used to position the number correctly.
@node Instrument names
@subsection Instrument names
R1*13/8*12
@end lilypond
-A @code{R} spanning a single measure is printed as a whole rest
-centered in the measure (or a breve when the measure lasts longer than
-two whole notes), regardless of the time signature.
-
-
+A @code{R} spanning a single measure is printed as either a whole rest
+or a breve, centered in the measure regardless of the time signature.
@cindex text on multi-measure rest
@cindex script on multi-measure rest
R1*4 cis cis
@end example
will enter two notes lasting four measures each. When @code{skipBars}
-is set, then the result will look OK6, but the bar numbering will be
+is set, then the result will look OK, but the bar numbering will be
off.
@node Automatic part combining
@node Frenched scores
@subsection Frenched scores
-In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. This style is called `French Score'.
+In orchestral scores, staff lines that only have rests are usually
+removed. This saves some space. This style is called `French Score'.
+For @internalsref{Lyrics}, @internalsref{LyricsVoice},
+@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
+switched on by default. When these line of these contexts turn out
+empty after the line-breaking process, they are removed.
-@syntax
-This is supported through the @code{RemoveEmptyStaff}. This staff is
-removed when it turns out empty (or containing multimeasure rests)
-after the line-breaking process.
+For normal staffs, a specialized @internalsref{Staff} context is
+available, which does the same: staffs containing nothing (or only
+multi measure rests) are removed. The context definition is stored in
+@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
+in this example disappears in the second line.
-For @internalsref{Lyrics}, @internalsref{LyricsVoice},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. For normal staffs, it is available as a
-specialized @internalsref{Staff} context, with the name variable
-@code{\RemoveEmptyStaffContext}. Observe how the second staff in this
-example disappears in the second line.
@lilypond[verbatim]
\score {
forerunner of the Editio Vaticana). As soon as Hufnagel ligature
engraver and Medicaea ligature engraver will have been implemented, it
will be as simple as replacing the ligature engraver in the
-VoiceContext to get the desired notation style from the same input.
+@internalsref{Voice} context to get the desired notation style from
+the same input.
The following table shows the code fragments that produce the
ligatures in the above neumes table. The letter in the first column
\figures { <4 6> }
@end lilypond
-Accidentals are added to the numbers if you alterate them by
-appending @code{-}, @code{!} and @code{+}.
+Accidentals are added when you append @code{-}, @code{!} and @code{+}
+to the numbers.
@example
<4- 6+ 7!>
introduced with @code{[} and @code{]}.
@example
- < [4 6] 8 [_ 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
-\figures { < [4 6] 8 [_ 12]> }
+\figures { < [4 6] 8 [_! 12]> }
@end lilypond
Although the support for figured bass may superficially resemble chord
@seealso
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
+@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
@internalsref{FiguredBass} context
@refbugs
@syntax
-A cluster is engraved as the envelope of a set of notes. The starting
-note is marked with @code{\startCluster}, and the ending note with
-@code{\stopCluster}, e.g.,
-
-@example
- c4-\startCluster
- ...
- f4-\stopCluster
-@end example
+A cluster is engraved as the envelope of a set of
+cluster-notes. Cluster notes are created by applying the function
+@code{notes-to-clusters} to a sequence of chords, eg.
+@c
+@lilypond[relative 1,verbatim]
+ \apply #notes-to-clusters { <<c e >> <<b f'>> }
+@end lilypond
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
@seealso
-@internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
+@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
+@inputfileref{input/regression,cluster.ly},
+@internalsref{Cluster_engraver}, @internalsref{ClusterNoteEvent}.
@refbugs
-When a cluster is active, note heads must be switched off manually using
-@code{\hideNotes}.
-
Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
accurately. Use @code{<<g a>>8 <<e a>>8} instead.
@lilypond[singleline]
\score {
- < \notes {
- \fatText
+ < \addlyrics \notes {
b'
^\shortfermata
_\shortfermata
sufficient. In this section we discuss ways to override these
defaults.
-Formatting is internally done by manipulating so called objects (graphic
-objects). Each object carries with it a set of properties (object
-properties) specific to that object. For example, a stem object has
-properties that specify its direction, length and thickness.
+Formatting is internally done by manipulating so called objects
+(graphic objects). Each object carries with it a set of properties
+(object or layout properties) specific to that object. For example, a
+stem object has properties that specify its direction, length and
+thickness.
The most direct way of tuning the output is by altering the values of
these properties. There are two ways of doing that: first, you can
temporarily change the definition of one type of object, thus
affecting a whole set of objects. Second, you can select one specific
-object, and set a object property in that object.
+object, and set a layout property in that object.
+
+Do not confuse layout properties with translation
+properties. Translation properties always use a mixed caps style
+naming, and are manipulated using @code{\property}
+@example
+ \property Context.propertyName = @var{value}
+@end example
+Layout properties are use Scheme style variable naming, i.e. lower
+case words separated with dashes. They are symbols, and should always
+be quoted using @code{#'}. For example, this could be an imaginary
+layout property name:
+@example
+ #'layout-property-name
+@end example
@menu
* Tuning objects ::
@cindex object description
-The definition of an object is actually a list of default object
+The definition of an object is a list of default object
properties. For example, the definition of the Stem object (available
-in @file{scm/grob-description.scm}), includes the following definitions for
-@internalsref{Stem}
+in @file{scm/define-grobs.scm}), includes the following definitions
+for @internalsref{Stem}
@example
(thickness . 1.3)
@end example
-By adding variables on top of these existing definitions, the system
-default is overridden, and the appearance of a layout objects is
-altered.
+Adding variables on top of this existing definition overrides the
+system default, and alters the resulting appearance of the layout
+object.
@syntax
-Changing a variable for only one object is commonly achieved with
+Changing a variable for only one object is commonly achieved with
@code{\once}:
@example
-\once \property @var{context}.@var{grobname}
+\once \property @var{context}.@var{objectname}
\override @var{symbol} = @var{value}
@end example
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} is a string and @var{value} is a Scheme expression.
+and @var{objectname} is a string and @var{value} is a Scheme expression.
This command applies a setting only during one moment in the score.
In the following example, only one @internalsref{Stem} object is
For changing more objects, the same command, without @code{\once} can
be used.
@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
@end example
This command adds @code{@var{symbol} = @var{value}} to the definition
-of @var{grobname} in the context @var{context}, and this definition
+of @var{objectname} in the context @var{context}, and this definition
stays in place until it is removed.
An existing definition may be removed by the following command
@c
@example
-\property @var{context}.@var{grobname} \revert @var{symbol}
+\property @var{context}.@var{objectname} \revert @var{symbol}
@end example
@c
All @code{\override} and @code{\revert} commands should be balanced.
-The @code{\set} shorthand, performs a revert followed by an override,
+The @code{\set} shorthand performs a revert followed by an override,
and is often more convenient to use
@example
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
@end example
Some examples:
effect. However, if the setting was set as a system default, this may
remove the default value, and this may give surprising results,
including crashes. In other words, @code{\override} and
-@code{\revert} must be carefully balanced.
-
-These are examples of correct nesting of @code{\override}, @code{\set},
-@code{\revert}.
+@code{\revert} must be carefully balanced. The following are examples
+of correct nesting of @code{\override}, @code{\set}, @code{\revert}.
+@itemize @bullet
+@item
A clumsy but correct form:
@example
\override \revert \override \revert \override \revert
@end example
+@item
Shorter version of the same:
@example
\override \set \set \revert
@end example
+@item
A short form, using only @code{\set}. This requires you to know the
default value:
@example
\set \set \set \set @var{to default value}
@end example
+@item
If there is no default (i.e. by default, the object property is unset),
then you can use
@example
\set \set \set \revert
@end example
+@end itemize
For the digirati, the object description is an Scheme association
list. Since a Scheme list is a singly linked list, we can treat it as
-Using @code{\override} and @code{\set}, requires three pieces of
-information: the name of the layout object, the context and the name
+Three pieces of information are required to use @code{\override} and
+@code{\set}: the name of the layout object, the context and the name
of the property. We demonstrate how to glean this information from
the notation manual and the generated documentation.
The generated documentation is a set of HTML pages which should be
included if you installed a binary distribution, typically in
@file{/usr/share/doc/lilypond}. They are also available on the web:
-go to the @uref{LilyPond website,http://lilypond.org}, click
-``Documentation: Index'' on the side bar, look in the ``Information
-for users'' section, and click on ``Documentation of internals.'' It
-is advisable to bookmark either the local HTML files if possilbe. They
+go to the @uref{http://lilypond.org,LilyPond website}, click
+``Documentation'', and then ``Program reference'' on the side bar. It
+is advisable to bookmark either the local HTML files if possible. They
will load faster than the ones on the web. If you use the version
from the web, you must check whether the documentation matches the
program version: the documentation is generated from the definitions
Suppose we want to move the fingering indication in the fragment below
-@lilypond[relative=2]
+@lilypond[relative=2,verbatim]
c-2
\stemUp
f
@internalsref{FingerEvent} and @internalsref{Fingering}.
@end quotation
-This implies that the fingerings, once entered, are internally stored
-as @code{FingerEvent} music objects. When printed, a @code{Fingering}
+@noindent
+In other words, the fingerings once entered, are internally stored as
+@code{FingerEvent} music objects. When printed, a @code{Fingering}
layout object is created for every @code{FingerEvent}.
-@ifhtml
-When we follow the link of @internalsref{Fingering},
-@end ifhtml
-@ifnothtml
-When we look up @internalsref{Fingering} in the generated
-documentation,
-@end ifnothtml
-we see a list of interfaces. The Fingering object has a number of
-different functions, and each of those is captured in an interface.
+The Fingering object has a number of different functions, and each of
+those is captured in an interface. when we look up
+@internalsref{Fingering} in the generated documentation.
+
+
The @code{Fingering} object has a fixed size
(@internalsref{item-interface}), the symbol is a piece of text
objects (@internalsref{side-position-interface}) vertically, and its
placement is coordinated with other scripts
(@internalsref{text-script-interface}). It also has the standard
-@internalsref{grob-interface} with all the variables that come with
+@internalsref{grob-interface} (grob stands for Graphical object)
+@cindex grob
+@cindex graphical object
+@cindex layout object
+@cindex object, layout
+with all the variables that come with
it. Finally, it denotes a fingering instruction, so it has
@internalsref{finger-interface}.
For the vertical placement, we have to look under
@code{side-position-interface}.
@quotation
- side-position-interface
+@code{side-position-interface}
Position a victim object (this one) next to other objects (the
support). In this case, the direction signifies where to put the
\once \property Voice.Fingering \set #'padding = #3
@end example
-Before the object is created, we get
-@lilypond[relative=2,fragment]
+Inserting this command before the Fingering object is created,
+i.e. before @code{c2}, yields the following result.
+
+@lilypond[relative=2,fragment,verbatim]
\once \property Voice.Fingering
\set #'padding = #3
c-2
an @emph{engraver}. The documentation of the @code{Fingering_engraver}
says
@example
-Fingering_engraver is part of contexts: Voice and TabVoice
+Fingering_engraver is part of contexts: Voice
@end example
-so tuning the settings for Fingering should be done using either
+so tuning the settings for Fingering should be done with
@example
\property Voice.Fingering \set @dots{}
@end example
-or
-@example
- \property TabVoice.Fingering \set @dots{}
-@end example
-
-Since the @code{TabVoice} is only used for tab notation, we see that
-the first guess @code{Voice} was indeed correct.
Of course, the tweak may also done in a larger context than
@code{Voice}, for example, @internalsref{Staff} or
@node Applyoutput
@subsection Applyoutput
-The most versatile way of tuning object is @code{\applyoutput}. Its
+The most versatile way of tuning an object is @code{\applyoutput}. Its
syntax is
@example
\applyoutput @var{proc}
@end example
+
+@noindent
where @var{proc} is a Scheme function, taking four arguments.
-When interpreted, the function @var{proc} is called for every grob found
+When interpreted, the function @var{proc} is called for every layout object found
in the context, with the following arguments:
@itemize @bullet
-@item the grob itself
-@item the context where the grob was created
+@item the layout object itself
+@item the context where the layout object was created
@item the context where @code{\applyoutput} is processed.
@end itemize
-In addition, the cause of the grob, i.e. the music expression or object
-that was responsible for creating the object, is in the object property
-@code{cause}. For example, for a note head, this is a
+In addition, the cause of the layout object, i.e. the music
+expression or object that was responsible for creating it, is in the
+object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
this is a @internalsref{NoteHead} object.
@node Outputproperty
@subsection Outputproperty
-@cindex \outputproperty
+@cindex @code{\outputproperty}
Another way of tuning objects is the more arcane @code{\outputproperty}
feature. The syntax is as follows:
@refbugs
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
+This command is slated for removal. Please use the
+@code{\applyoutput} command, see @ref{Applyoutput}.
@node Font selection
@subsection Font selection
-The most common thing to change about the appearance of fonts is
-their size. The font size of any context can be easily
-changed by setting the @code{fontSize} property for that context:
+The most common thing to change about the appearance of fonts is their
+size. The font size of any context can be easily changed by setting
+the @code{fontSize} property for that context. Its value is an
+integer: negative numbers make the font smaller, positive numbers
+larger. An example is given below.
@c
@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
f4 g4
@end lilypond
- This command will set @code{font-relative-size} (see below),
- and does not change the size of variable symbols, such as
-beams or slurs. You can use this command to get smaller symbol for
-cue notes, but that involves some more subtleties. An elaborate
-example of those is in @inputfileref{input/test,cue-notes.ly}.
+This command will set @code{font-relative-size} (see below), and does
+not change the size of variable symbols, such as beams or slurs.
+
+
+One of the uses of @code{fontSize} is to get smaller symbol for cue
+notes. An elaborate example of those is in
+@inputfileref{input/test,cue-notes.ly}.
@cindex magnification
\property Staff.TimeSignature
\set #'font-name = #"cmr17"
@end example
-You may use any font which is available to @TeX{}, such as foreign
-fonts or fonts that do not belong to the Computer Modern font family.
+
+@noindent
+Any font can be used, as long as it is available to @TeX{}. Possible
+fonts include foreign fonts or fonts that do not belong to the
+Computer Modern font family.
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
to override default setting, which are always present. For example:
@example
- \property Lyrics.LyricText \override #'font-series = #'bold
- \property Lyrics.LyricText \override #'font-family = #'typewriter
- \property Lyrics.LyricText \override #'font-shape = #'*
+ \property Lyrics . LyricText \override #'font-series = #'bold
+ \property Lyrics . LyricText \override #'font-family = #'typewriter
+ \property Lyrics . LyricText \override #'font-shape = #'*
@end example
@cindex @code{font-style}
The following commands set @code{fontSize} for the current voice.
-@refcommand tiny
-@refcommand small
-@refcommand normalsize
+@cindex @code{\tiny}
+@code{\tiny},
+@cindex @code{\small}
+@code{\small},
+@cindex @code{\normalsize}
+@code{\normalsize},
@refbugs
@cindex font switching
-The line of the example demonstrates font switching commands. The
-command only apply to the first following word; enclose a set of texts
-with braces to apply a command to more words.
+The markup in the example demonstrates font switching commands. The
+command @code{\bold} and @code{\italic} only apply to the first
+following word; enclose a set of texts with braces to apply a command
+to more words.
@example
\markup @{ \bold @{ hi there @} @}
@end example
+
+@noindent
For clarity, you can also do this for single arguments, e.g.
@example
\markup @{ is \italic @{ anyone @} home @}
The following size commands set abolute sizes
-@cindex \teeny
-@cindex \tiny
-@cindex \small
-@cindex \large
-@cindex \huge
+@cindex @code{\teeny}
+@cindex @code{\tiny}
+@cindex @code{\small}
+@cindex @code{\large}
+@cindex @code{\huge}
@table @code
@item \teeny
@cindex larger
@cindex font style, for texts
-@cindex \bold
-@cindex \dynamic
-@cindex \number
-@cindex \italic
+@cindex @code{\bold}
+@cindex @code{\dynamic}
+@cindex @code{\number}
+@cindex @code{\italic}
The following font change commands are defined:
@table @code
@cindex moving text
@cindex translating text
-@cindex \sub
-@cindex \super
+@cindex @code{\sub}
+@cindex @code{\super}
Raising and lowering texts can be done with @code{\super} and
@code{\sub}.
c1^\markup { E "=" mc \super "2" }
@end lilypond
-@cindex \raise
+@cindex @code{\raise}
If you want to give an explicit amount for lowering or raising, use
@code{\raise}. This command takes a Scheme valued first argument, and
respectively.
@item \musicglyph
-@cindex \musicglyph
+@cindex @code{\musicglyph}
This is converted to a musical symbol, e.g. @code{\musicglyph
#"accidentals-0"} will select the natural sign from the music font.
See @ref{The Feta font} for a complete listing of the possible glyphs.
This produces a single character, e.g. @code{\char #65} produces the
letter 'A'.
+@item \note @var{log} @var{dots} @var{dir}
+@cindex @code{\note}
+
+This produces a note with a stem pointing in @var{dir} direction, with
+duration log @var{log} and @var{dots} augmentation dots. The duration
+log is the negative 2-logarithm of the duration denominator. For
+example, a quarter note has log 2, an eighth note 3 and a breve has
+log -1.
+
@item \hspace #@var{amount}
-@cindex \hspace
+@cindex @code{\hspace}
This produces a invisible object taking horizontal space.
@example
\markup @{ A \hspace #2.0 B @}
normally inserted before elements on a line.
@item \fontsize #@var{size}
-@cindex \fontsize
+@cindex @code{\fontsize}
This sets the relative font size, eg.
@example
A \fontsize #2 @{ B C @} D
This moves `B C' 2 spaces to the right, and 3 down.
@item \magnify #@var{mag}
-@cindex \magnify
+@cindex @code{\magnify}
This sets the font magnification for the its argument. In the following
example, the middle A will be 10% larger.
@example
@item \override #(@var{key} . @var{value})
-@cindex \override
+@cindex @code{\override}
This overrides a formatting property for its argument. The argument
should be a key/value pair, e.g.
@example
-m \override #'(font-family . math) m m
+ m \override #'(font-family . math) m m
@end example
@end table
\score @{ ... @}
@end example
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{scm/font.scm}.
-
+The default font size settings for each staff heights are generated
+from the 20pt style sheet. For more details, see the file
+@file{scm/font.scm}.
+l
@node Line breaking
@cindex regular line breaks
@cindex four bar music.
-If you want linebreaks at regular intervals, you can use the following:
+For linebreaks at regular intervals use @code{\break} separated by
+skips and repeated with @code{\repeat}:
@example
< \repeat unfold 7 @{ s1 * 4 \break @}
@emph{the real music}
>
@end example
+
+@noindent
This makes the following 28 measures (assuming 4/4 time) be broken every
4 measures.
@refcommands
-@refcommand newpage
+@cindex @code{\newpage}
+@code{\newpage},
@seealso
@refbugs
-There is no concept of page breaking, which makes it difficult to
-choose sensible page breaks in multi-page pieces.
+LilyPond has no concept of page layout, which makes it difficult to
+reliably choose page breaks in longer pieces.
their two extremities. The fractions be adjusted by
@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
For each type of MIDI instrument, a volume range can be defined. This
-gives you basic equalizer control, which can enhance the quality of
+gives a basic equalizer control, which can enhance the quality of
the MIDI output remarkably. The equalizer can be controlled by
setting @code{instrumentEqualizer}.
projects / lilypond.git / blobdiff