-
-
-@c Note:
+@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
@macro seeinternals{NAME}
@end macro
@macro internalsref{NAME}
-\NAME\
@cindex \NAME\
-
+\NAME\
@end macro
@end ifnothtml
passing familiarity with how LilyPond input works. New users are
encouraged to study the tutorial first.
-The reference manual is ordered according to different tasks.
-More details on the property setting mechanisms and context handling is
-provided in @ref{Tuning output} and @ref{Interpretation context}. The
-syntactical details are described at the end of the manual.
@menu
-* Overview::
-* Note entry::
-* Staff notation::
-* Polyphony::
-* Beaming::
-* Expressive marks::
-* Ornaments::
-* Repeats::
-* Rhythmic music::
-* Piano music::
-* Lyrics::
-* Chords::
-* Writing parts::
-* Custodes::
-* Figured bass::
-* Tuning output::
-* Page layout::
-* Output formats::
-* Sound::
-* Music entry::
-* Skipping corrected music::
-* Interpretation context::
-* Syntactic details::
-* Lexical details::
+* Note entry::
+* Staff notation::
+* Polyphony::
+* Beaming::
+* Expressive marks::
+* Ornaments::
+* Repeats::
+* Rhythmic music::
+* Piano music::
+* Tablatures::
+* Lyrics::
+* Chords::
+* Writing parts::
+* Ancient notation ::
+* Ancient clefs ::
+* Figured bass::
+* Tuning output::
+* Page layout::
+* Output formats::
+* Sound::
+* Music entry::
+* Skipping corrected music::
+* Interpretation context::
+* Syntactic details::
+* Lexical details::
@end menu
-@c . {Overview}
-@node Overview
-@section Overview
-
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes aesthetic decisions.
-Symbols and their placements are @emph{generated} from a high-level
-musical description. In other words, LilyPond would be best described
-by `music compiler' or `music to notation compiler'.
-
-LilyPond is linked to GUILE, GNU's Scheme library for extension
-programming. The Scheme library provides the glue that holds together
-the low-level routines and separate modules which are written in C++.
-
-When lilypond is run to typeset sheet music, the following happens:
-@itemize @bullet
-@item GUILE Initialization: various scheme files are read
-@item parsing: first standard @code{ly} initialization files are read, and
-then the user @file{ly} file is read.
-@item interpretation: the music in the file is processed ``in playing
-order'', i.e. the order that you use to read sheet music, or the
-order in which notes are played. The result of this step is a typesetting
-specification.
-
-@item typesetting:
-The typesetting specification is solved: positions and formatting is
-calculated.
-
-@item the visible results ("virtual ink") are written to the output file.
-@end itemize
-
-During these stages different types of data play the the main role:
-during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{contexts} are constructed, and with these contexts
-a network of @strong{graphical objects} (``grobs'') is created. These
-grobs contain unknown variables, and the network forms a set of
-equations. After solving the equations and filling in these variables,
-the printed output (in the form of @strong{molecules}) is written to an
-output file.
-
-These threemanship of tasks (parsing, translating, typesetting) and
-data-structures (music, context, graphical objects) permeates the entire
-design of the program.
-
@c FIXME: Note entry vs Music entry at top level menu is confusing.
@c . {Note entry}
@node Note entry
@section Note entry
@cindex Note entry
-The most basic forms of music are notes. We discuss how you enter them
-here. Notes on their own don't form valid input, but for the sake of
-brevity we omit obligatory lint such as @code{\score} blocks and
-@code{\paper} declarations.
+The most basic forms of music are notes. Notes on their own don't
+form valid input, but for the sake of brevity we omit @code{\score}
+blocks and @code{\paper} declarations.
@menu
-* Notes::
-* Pitches::
-* Rests::
-* Skips::
-* Durations::
-* Ties::
-* Tuplets::
-* Defining pitch names::
-* Easy Notation note heads ::
+* Notes::
+* Pitches::
+* Chromatic alterations::
+* Rests::
+* Skips::
+* Durations::
+* Ties::
+* Automatic note splitting ::
+* Tuplets::
+* Defining pitch names::
+* Easy Notation note heads ::
@end menu
@c . {Notes}
@node Notes
@subsection Notes
-A note specification has the form
-@example
- @var{pitch}[!][?][@var{duration}]
-@end example
-
-The alteration refers to what note is heard, not to whether an
-accidental is printed. This is done depending on the key and context.
-A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch. A
-cautionary accidental,
-@cindex cautionary accidental
-@cindex parenthesized accidental
-i.e., an accidental within parentheses can be obtained by adding the
-question mark `@code{?}' after the pitch.
-
-@lilypond[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
+A note is printed by specifying its pitch, and then its duration.
+@lilypond[fragment,verbatim]
+ cis'4 d'8 e'16 c'16
@end lilypond
-
The grob for a note head is called @internalsref{NoteHead}.
-
@c . {Pitches}
@node Pitches
@subsection Pitches
c' c'' es' g' as' gisis' ais'
@end lilypond
+@node Chromatic alterations
+@subsection Chromatic alterations
+
+Normally Accidentals signify that the pitch of a note differs from the
+key signature. Normally, they are printed automatically depending, but
+you may force accidentals in the following ways:
+A reminder accidental
+@cindex reminder accidental
+@cindex @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+@cindex parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark `@code{?}' after the pitch.
+
+Each accidental symbol is an @internalsref{Accidental} grob. The
+placement of accidentals is handled by
+@internalsref{AccidentalPlacement}.
+
+
@c . {Rests}
@node Rests
@subsection Rests
@cindex Space note
An invisible rest, or skip, can be entered like a note with note name
-`@code{s}':
+@code{s}, or with @code{\skip @var{duration}}:
@lilypond[singleline,verbatim]
-a2 s4 a4 s1 a4
+a2 s4 a4 \skip 1 a4
@end lilypond
-Actually, this is a shorthand for the @code{\skip} command, and it is
+The @code{s} syntax is only available in Note mode and Chord mode.
+In other situations, you should use the @code{\skip} command, and it is
only available in Note mode and Chord mode.
@c FIXME: in lyrics mode, we have " " and _
}
@end lilypond
-Note that the skip does not produce any output, not even transparent output.
+The skip command is merely a empty musical placeholder. It does not
+produce any output, not even transparent output.
@c . {Durations}
}
@end lilypond
- To get a longa note head, you have to use mensural note heads. This
-is accomplished by setting the @code{style} property of the
-NoteHead grob to @code{mensural}. There is also a note head style
-@code{baroque} which gives mensural note heads for @code{\longa} and
-@code{\breve} but standard note heads for shorter notes.
-
-@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
-@end lilypond
If the duration is omitted then it is set to the previous duration
entered. At the start of parsing a quarter note is assumed. The
@cindex ties
@cindex @code{~}
-A tie connects two adjacent note heads of the same pitch. When used
-with chords, it connects all the note heads whose pitches match.
-Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
-together chords which have no common pitches then no ties will be
-created.
+A tie connects two adjacent note heads of the same pitch. The tie in
+effect extends the length of a note. A tie is entered with @code{~}.
@lilypond[fragment,verbatim,center]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-If you dislike the amount of ties created for a chord, you set
-@code{Voice.sparseTies} to true, resulting in a smaller number of
-ties:
+When ties are used with chords, all note heads whose pitches match are
+connected. Ties are indicated using the tilde symbol `@code{~}'. If
+you try to tie together chords which have no common pitches then no
+ties will be created.
+
+If you want less ties created for a chord, you can set
+@code{Voice.sparseTies} to true. In this case, a single tie is used
+for every tied chord.
@lilypond[fragment,verbatim,center]
\property Voice.sparseTies = ##t
<c' e' g'> ~ <c' e' g'>
@lilypond[fragment, singleline]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
+Ties should not be confused with slurs, which indicate articulation,
+and phrasing slurs, which indicate musical phrasing.
The name of the tie grob is @internalsref{Tie}, and it is created in the
@internalsref{Voice} context.
@refbugs
At present, the tie is implemented as a separate thing, temporally
-located in between the notes. There is also no way to convert
-between tied notes, dotted notes and plain notes.
-
+located in between the notes.
Tieing only a subset of the note heads of a chord is not supported in a
simple way. It can be achieved by moving the tie-engraver into the Thread
context and turning on and off ties per Thread.
+@node Automatic note splitting
+@subsection Automatic note splitting
+
+There is a facility for automatically converting long notes to tied
+notes. This is done by replacing the @code{Note_heads_engraver} by the
+@code{Completion_heads_engraver}.
+
+@lilypond[verbatim,center]
+\score{
+ \notes\relative c'{ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ }
+ \paper{ \translator{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ } } }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of the uses of this is, is to debug complex scores: if the
+measures are not entirely filled, then the ties exactly show how much
+each measure is off.
+
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets.
@node Tuplets
@subsection Tuplets
@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
instead.
+@c todo: junk this?
+
The typesetting of brackets and numbers is controlled by the properties
-@code{tuplet-bracket-visibility} and @code{tuplet-number-visibility}.
+@code{bracket-visibility} and @code{number-visibility}. These
+properties can either be @code{#f}, @code{#t} or @code{'if-no-beam},
+meaning respectively off, on, and on if there is no beam.
@lilypond[fragment, relative, singleline, verbatim]
-\property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
+\property Voice.TupletBracket \set #'bracket-visibility = ##t
\times 2/3{c'8 d e} \times 2/3{d4 e8}
-\property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
+\property Voice.TupletBracket \set #'bracket-visibility = #'if-no-beam
\times 2/3{c d e} \times 2/3{d4 e8}
-\property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
+\property Voice.TupletBracket \set #'bracket-visibility = ##f
\times 2/3{c d e} \times 2/3{d4 e8}
-\property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
+\property Voice.TupletBracket \set #'number-visibility = ##f
\times 2/3{c d e} \times 2/3{d4 e8}
-\property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
+\property Voice.TupletBracket \set #'number-visibility = #'if-no-beam
\times 2/3{c d e} \times 2/3{d4 e8}
@end lilypond
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-Tuplet brackets are printed as @internalsref{TupletBracket} grobs, most
-often in the @internalsref{Voice} context.
+Tuplet brackets are printed as @internalsref{TupletBracket} grobs in
+the @internalsref{Voice} context.
@c . {Defining pitch names}
@node Defining pitch names
\chordmodifiers @var{scheme-alist}
@end example
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers-init.ly} for
specific examples on how to do this.
@cindex Staff notation
@menu
-* Key signature::
-* Clef::
-* Time signature::
-* Unmetered music::
-* Bar lines::
+* Key signature::
+* Clef::
+* Time signature::
+* Unmetered music::
+* Bar lines::
@end menu
@c . {Key}
@subsection Clef
@cindex @code{\clef}
-The clef can be set or changed with the @code{\clef} command.
-@example
- \clef @var{clefname}
-@end example
-
-Shortcut for
-
-@example
- \property Staff.clefGlyph = @var{glyph associated with clefname}
- \property Staff.clefPosition = @var{clef Y-position for clefname}
- \property Staff.centralCPosition = @var{position for central C}
- \property Staff.clefOctavation = @var{extra transposition of clefname}
-@end example
-
-
-Any change in these properties creates a clef (A @internalsref{Clef} grob).
+The clef can be set or changed with the @code{\clef} command:
+@lilypond[fragment,verbatim]
+ \key f\major c''2 \clef alto g'2
+@end lilypond
Supported clef-names include
-
@c Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
name. For example,
@example
\clef "G_8"
-@end example
+@end example
-Supported associated glyphs (for @code{Staff.clefGlyph}) are:
+The grob for this symbol is @internalsref{Clef}.
+
+
+The full syntax for this command is
+@example
+ \clef @var{clefname}
+@end example
+where @var{clefname} is a string. This command is a shortcut for
+@example
+ \property Staff.clefGlyph = @var{glyph associated with clefname}
+ \property Staff.clefPosition = @var{clef Y-position for clefname}
+ \property Staff.centralCPosition = @var{position for central C}
+ \property Staff.clefOctavation = @var{extra transposition of clefname}
+@end example
+Upon any change in these properties lilypond creates a clef
+symbol. The mapping from @var{clefname} to the property values can be
+found in @file{scm/clef.scm}
-@table @code
-@item clefs-C
- modern style C clef
-@item clefs-F
- modern style F clef
-@item clefs-G
- modern style G clef
-@item clefs-vaticana_do
- Editio Vaticana style do clef
-@item clefs-vaticana_fa
- Editio Vaticana style fa clef
-@item clefs-medicaea_do
- Editio Medicaea style do clef
-@item clefs-medicaea_fa
- Editio Medicaea style fa clef
-@item clefs-mensural1_c
- modern style mensural C clef
-@item clefs-mensural2_c
- historic style small mensural C clef
-@item clefs-mensural3_c
- historic style big mensural C clef
-@item clefs-mensural1_f
- historic style traditional mensural F clef
-@item clefs-mensural2_f
- historic style new mensural F clef
-@item clefs-mensural_g
- historic style mensural G clef
-@item clefs-hufnagel_do
- historic style hufnagel do clef
-@item clefs-hufnagel_fa
- historic style hufnagel fa clef
-@item clefs-hufnagel_do_fa
- historic style hufnagel combined do/fa clef
-@item clefs-percussion
- modern style percussion clef
-@end table
-@emph{Modern style} means ``as is typeset in current editions.''
-@emph{Historic style} means ``as was typeset or written in contemporary
-historic editions''. @emph{Editio XXX style} means ``as is/was printed in
-Editio XXX.''
-@cindex Vaticana, Editio
-@cindex Medicaea, Editio
-@cindex hufnagel clefs
@c . {Time signature}
@cindex @code{\time}
The time signature is set or changed by the @code{\time}
-command. Syntax:
-@example
- \time @var{n}@code{/}@var{d}
-@end example
-Internally, this is a shortcut for doing
-@example
-\property Score.timeSignatureFraction = #'(@var{n} . @var{d})
-\property Score.beatLength = #(make-moment 1 @var{d})
-\property Score.measureLength = #(make-moment @var{n} @var{d})
-@end example
-
-These properties @code{timeSignatureFraction} determine where bar lines
-should be inserted, and how automatic beams should be
-generated.
-
-Changing the value of @code{timeSignatureFraction} also causes a
-fraction to be printed. This grob is @internalsref{TimeSignature}.
+command.
+@lilypond[fragment,verbatim]
+ \time 2/4 c'2 \time 3/4 c'2.
+@end lilypond
The actual symbol that's printed can be customized with the style
property.
\time 2/2 s2
@end lilypond
-There are many more options for the layout of this grob. They are
-selected through the @code{style} grob property.
+The grob for this symbol is @internalsref{TimeSignature}. There are
+many more options for its layout. They are selected through the
+@code{style} grob property. See @file{input/test/time.ly} for more
+examples.
-@c FIXME: this isn't documented except in example?
-See
-@file{input/test/time.ly} for examples.
+
+The full syntax for this command is
+@example
+ \time @var{n}@code{/}@var{d}
+@end example
+where @var{n} and @var{d} are integers. This command is internally
+translated, to the following:
+@example
+\property Score.timeSignatureFraction = #'(@var{n} . @var{d})
+\property Score.beatLength = #(make-moment 1 @var{d})
+\property Score.measureLength = #(make-moment @var{n} @var{d})
+@end example
+
+The property @code{timeSignatureFraction} determine where bar lines
+should be inserted, and how automatic beams should be generated.
+Changing the value of @code{timeSignatureFraction} also causes a
+fraction to be printed.
@c . {Partial}
@subsection Partial
@cindex @code{\partial}
Partial measures, for example in upbeats, are entered using the
-@code{\partial} command:
+@code{\partial} command:
+@lilypond[fragment,verbatim]
+\partial 4* 5/16 c'16 c8. f16 a'2. ~ a'8. a'16 | g'1
+@end lilypond
+
+The syntax for this command is
@example
\partial @var{duration}
@end example
-
-Internally, this is a shortcut for
-
+This is internally translated into
@example
\property Score.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
-
The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
+indicating how much of the measure has passed at this point.
@node Unmetered music
@cindex measure lines
@cindex repeat bars
-@example
- \bar @var{bartype}
-@end example
+Bar lines are inserted automatically by, but if you need a special
+types of barline, you can force one using the @code{\bar} command:
+@lilypond[fragment,verbatim]
+ c4 \bar "|:" c4
+@end lilypond
-This is a shortcut for doing
-@example
- \property Score.whichBar = @var{bartype}
-@end example
The following bar types are available
-
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
\bar "|."
@end lilypond
-
You are encouraged to use @code{\repeat} for repetitions. See
@ref{Repeats}.
+In scores with many staffs, the barlines are automatically placed at
+top level, and they are connected between different staffs of a
+@internalsref{StaffGroup}:
+@lilypond[fragment, verbatim]
+< \context StaffGroup <
+ \context Staff = up { e'4 d'
+ \bar "||"
+ f' e' }
+ \context Staff = down { \clef bass c4 g e g } >
+\context Staff = pedal { \clef bass c2 c2 } >
+@end lilypond
+
+The grobs that are created at @internalsref{Staff} level. The name is
+@internalsref{BarLine}.
+
+The full syntax for this command is
+@example
+ \bar @var{bartype}
+@end example
+where @var{bartype} is a string. This is a shortcut for doing
+@example
+ \property Score.whichBar = @var{bartype}
+@end example
+
@cindex Bar_line_engraver
@cindex whichBar
@code{\bar }. These settings take precedence over the automatic
@code{whichBar} settings.
-@internalsref{BarLine} grobs are created by the @code{Bar_engraver}.
-
@c . {Polyphony}
@node Polyphony
@section Polyphony
@lilypond[verbatim,fragment]
\context Voice = VA \apply #voicify-music \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
}
@end lilypond
contexts, bearing the names @code{"1"}, @code{"2"}, etc.
To explicity typeset polyphonic music, instantiate a separate Voice
-context for each part, and assign a stem direction to each part.
+context for each part, and use @code{\voiceOne}, up to
+@code{\voiceFour} to assign a stem directions and horizontal shift for
+each part.
@c
-@lilypond[fragment,verbatim]
-\context Staff
-< \context Voice = VA { \stemUp b'4 a' g' f' e' }
- \context Voice = VB { \stemDown g'4 g' g' g' g' } >
+
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
@end lilypond
-When there are more than two voices on a staff, you must also indicate
-which voice should moved horizontally in case of a collision. This can
-be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
-@code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
-in @internalsref{NoteColumn}).
+The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
+ties, slurs and stems, and set shift directions.
+If you want more than four voices, you can also manually set
+horizontal shifts and stem directions, as is shown in the following example:
@lilypond[fragment, verbatim]
\context Staff \notes\relative c''<
\context Voice=one {
>
@end lilypond
-The most convenient way is to use the identifiers @code{\voiceOne}
-through @code{\voiceFour}, which also set slur and tie directions in the
-correct manner.
-
-@lilypond[singleline, verbatim]
-\relative c''
-\context Staff < \context Voice = VA { \voiceOne cis2 b }
- \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
- \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
-@end lilypond
Normally, note heads with a different number of dots are not merged, but
if you set the grob property @code{merge-differently-dotted}, they are:
-
@lilypond[verbatim,fragment,singleline]
- \context Staff <
- \context Voice = VA { \voiceOne
+\apply #voicify-music < {
g'8 g'8
\property Staff.NoteCollision \override #'merge-differently-dotted = ##t
g'8 g'8
- }
- \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
+ } \\ { [g'8. f16] [g'8. f'16] }
>
@end lilypond
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}:
+@lilypond[fragment, relative=2,verbatim]
+\apply #voicify-music < {
+ c8 c4.
+ \property Staff.NoteCollision
+ \override #'merge-differently-headed = ##t
+ c8 c4. } \\ { c2 c2 } >
+@end lilypond
+
LilyPond also vertically shifts rests that are opposite of a stem.
-@lilypond[singleline,verbatim]
-\context Staff <
-\context Voice { \stemUp c''4 }
-\context Voice =VB { r4 }
+@lilypond[singleline,fragment,verbatim]
+\apply #voicify-music <
+ { c''4 } \\ { r4 }
>
@end lilypond
-Note head collisions (horizontal shifting of note heads) are handled by
-the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
-handles vertical shifting of rests.
+Note head collisions (horizontal shifting of note heads) are handled by
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
+handles vertical shifting of rests.
+
+
+
+@refbugs
+
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
+rests to override typesetting decisions.
+
+@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.
+
+@lilypond[fragment,verbatim, relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
+@end lilypond
+
+If you're not satisfied with the automatic beaming, you can enter the
+beams explicitly. If you have beaming patterns that differ from the
+defaults, you can also set the patterns for automatic beamer.
+
+The beam symbol is @internalsref{Beam} in @internalsref{Voice}
+context, both for automatically created and manual beams.
+
+@c . {Manual beams}
+@cindex Automatic beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
+
+In some cases it may be necessary to override LilyPond's 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 a @code{[} before the first beamed note and a @code{]}
+after the last note:
+
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ r4 [r8 g' a r8] r8 [g | a] r8
+ }
+@end lilypond
+
+@cindex @code{stemLeftBeamCount}
+
+Normally, beaming patterns within a beam are determined automatically.
+When this mechanism fouls up, the properties
+@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
+be used to control the beam subdivision on a stem. If you set either
+property, it's value will be used only once, and then it is erased.
+
+@lilypond[fragment,relative,verbatim]
+ \context Staff {
+ [f8 r16 f g a]
+ [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+ }
+@end lilypond
+@cindex @code{stemRightBeamCount}
+
+@ignore
+TODO: FIXME, we don't want this doc here.
+
+ can be tweaked through
+grob-property @code{positions}. The value is a pair.
+specify vertical location of the left and right end point. Both are
+measured in half staff-spaces, and the middle staff line is the value
+of 0.
+
+@li lypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'position = #
+ \property Voice.Beam \set #'height = #0
+ [a'8 e' d c]
+@end lilyp ond
+
+Here's how you'd specify a weird looking beam that instead of being
+horizontal, falls two staff spaces:
+
+
+[FIXME]
+
+
+@li lypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'staff-position = #4
+ \property Voice.Beam \set #'height = #-4
+ [c8 c]
+@end lilypond
+
+@end ignore
+
+Kneed beams are inserted automatically, when a large gap between two
+adjacent beamed notes is detected. This behavior can be tuned through
+the grob property @code{auto-knee-gap}.
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+@cindex hara kiri
+@c TODO -> why this ref? Document?
+@cindex @code{neutral-direction}
@refbugs
-Resolving collisions is a very intricate subject, and LilyPond only
-handles a few situations. When it can not cope, you are advised to use
-@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
-the Rest grob to override typesetting decisions.
+Auto knee beams can not be used together with hara kiri staffs.
-@node Beaming
-@section Beaming
+@menu
+* Beam typography::
+* Setting automatic beam behavior ::
+@end menu
-Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond guesses where beams should be inserted. If you're
-not satisfied with the automatic beaming, you can specify which patterns
-to beam automatically. In specific cases, you can also enter the beams
-explicitly.
+@node Beam typography
+@subsection Beam typography
+
+One of the strong points of LilyPond is how beams are formatted. Beams
+are quantized, meaning that the left and right endpoints beams start
+exactly on staff lines. Without quantization, small wedges of white
+space appear between the beam and staff line, and this looks untidy.
+
+Beams are also slope-damped: melodies that go up or down should also
+have beams that go up or down, but the slope of the beams should be
+less than the slope of the notes themselves.
+
+Some beams should be horizontal. These are so-called concave beams.
+
+[TODO: some pictures.]
@c . {Automatic beams}
-@subsection Automatic beams
+@node Setting automatic beam behavior
+@subsection Setting automatic beam behavior
-@cindex @code{Voice.autoBeamSettings}
+@cindex @code{autoBeamSettings}
@cindex @code{(end * * * *)}
@cindex @code{(begin * * * *)}
-
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
In normal time signatures, automatic beams can start on any note but can
only end in a few positions within the measure: beams can end on a beat,
@cindex automatic beam generation
@cindex autobeam
-@cindex @code{Voice.noAutoBeaming}
+@cindex @code{Voice.autoBeaming}
+@cindex lyrics
+
+For melodies that have lyrics, you may want to switch off
+automatic beaming. This is done by setting @code{Voice.autoBeaming} to
+@code{#f}.
-Automatic beaming is on by default, but can be switched off by setting
-@code{Voice.noAutoBeaming} to true. You you may find this necessary for
-a melody that goes with lyrics.
@refbugs
different parts of a measure. This means that it is not possible to use
automatic beaming in irregular meters such as @code{5/8}.
-@c . {Manual beams}
-@cindex Automatic beams
-@subsection Manual beams
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
-
-In some cases it may be necessary to override LilyPond's 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 a @code{[} before the first beamed note and a @code{]}
-after the last note:
-
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- r4 [r8 g' a r8] r8 [g | a] r8
- }
-@end lilypond
-Whenever an manual beam is busy, the automatic beamer will not produce
-anything.
-
-@cindex @code{stemLeftBeamCount}
-
-Normally, beaming patterns within a beam are determined automatically.
-When this mechanism fouls up, the properties
-@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
-be used to control the beam subdivision on a stem. If you set either
-property, it's value will be used only once, and then it is erased.
-
-@lilypond[fragment,relative,verbatim]
- \context Staff {
- [f8 r16 f g a]
- [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
- }
-@end lilypond
-@cindex @code{stemRightBeamCount}
-
-The beam symbol (grob @internalsref{Beam} in @internalsref{Voice}
-context), both for automatic and manual beams) can be tweaked through
-grob-properties @code{height} and @code{staff-position}. These specify
-vertical location and vertical span. Both are measured in half
-staff-spaces, @code{staff-position=0} corresponds to the middle staff
-line.
-
-Set @code{height} to zero, to get horizontal beams:
-
-@lilypond[fragment,relative,verbatim]
- \property Voice.Beam \set #'direction = #1
- \property Voice.Beam \set #'height = #0
- [a'8 e' d c]
-@end lilypond
-
-Here's how you'd specify a weird looking beam that instead of being
-horizontal, falls two staff spaces:
-
-
-[FIXME]
-
-
-@lilypond[fragment,relative,verbatim]
- \property Voice.Beam \set #'staff-position = #4
- \property Voice.Beam \set #'height = #-4
- [c8 c]
-@end lilypond
-
-[TODO: doc autokneeing ? ]
-
-@c TODO -> why this ref? Document?
-@cindex @code{neutral-direction}
@node Expressive marks
@section Expressive marks
@c . {Slurs}
@menu
-* Slurs ::
-* Phrasing slurs::
-* Breath marks::
-* Tempo::
-* Text spanners::
+* Slurs ::
+* Phrasing slurs::
+* Breath marks::
+* Tempo::
+* Text spanners::
@end menu
@node Slurs
the attachment type of the left and right end points.
@lilypond[fragment,relative,verbatim]
- \property Voice.Slur \set #'direction = #1
+ \slurUp
\property Voice.Stem \set #'length = #5.5
g'8(g)g4
\property Voice.Slur \set #'attachment = #'(stem . stem)
stems might look better:
@lilypond[fragment,relative,verbatim]
- \property Voice.Stem \set #'direction = #1
- \property Voice.Slur \set #'direction = #1
+ \stemUp \slurUp
d32( d'4 )d8..
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
indicate this preference by increasing the @code{beautiful} value:
@lilypond[verbatim,singleline,relative]
- \property Voice.Beam \override #'direction = #-1
- \property Voice.Slur \override #'direction = #1
+ \stemDown \slurUp
c16( a' f' a a f a, )c,
c( a' f' a a f d, )c
\property Voice.Slur \override #'beautiful = #5.0
@refbugs
-@code{beautiful} is an arbitrary parameter in the slur formatter.
-Useful values can only be determined by trial and error.
+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 don't look too good. This is reflected by the
+@code{beautiful} parameter. It is an arbitrary parameter in the slur
+formatter. Useful values can only be determined by trial and error.
@cindex Adjusting slurs
@end lilypond
-
-
-@refbugs
-
-The current layout of the default comma style breath marks
-could be improved and more optional symbols should be added to the
-font.
-
-
-
@c . {Tempo}
@node Tempo
@subsection Tempo
@section Ornaments
@cindex Ornaments
@menu
-* Articulations::
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
+* Articulations::
+* Text scripts::
+* Adding scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@c . {Articulation}
@cindex ornaments
A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly}. Symbols can be forced to appear above
-or below the note by writing `@var{note}@code{^\}@var{name}' and
-`@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
-symbols on notes, with the name of the corresponding symbol appearing
-underneath.
+different characteristics of the performance. They are added to a note
+by adding @code{-}@var{script}
+@lilypond[singleline]
+ \score {
+ \notes \context Voice {
+ \property Voice.TextScript \set #'font-family = #'typewriter
+ \property Voice.TextScript \set #'font-shape = #'upright
+ c''4-._"c-." s4
+ c''4--_"c-{}-" s4
+ c''4-+_"c-+" s4
+ c''4-|_"c-|" s4
+ c''4->_"c->" s4
+ c''4-^_"c-\\^{ }" s4
+ }
+ }
+@end lilypond
+The script is automatically placed, but if you need to force
+directions, you can use @code{_} to force them down, or @code{^} to
+put them up:
+@lilypond[fragment, verbatim]
+ c''4^^ c''4_^
+@end lilypond
+
+
+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{_}.
@lilypond[]
\score {
<
}
@end lilypond
-To save typing work, some shorthands are available:
-@lilypond[singleline]
- \score {
- \notes \context Voice {
- \property Voice.TextScript \set #'font-family = #'typewriter
- \property Voice.TextScript \set #'font-shape = #'upright
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- }
- }
-@end lilypond
@cindex fingering
-Fingering instructions can also be entered in this shorthand. For
-changes, some markup texts would be needed:
+Fingering instructions can also be entered in this shorthand. For
+finger changes, use markup texts:
+@c
@lilypond[verbatim, singleline, fragment]
c'4-1 c'4-2 c'4-3 c'4-4
c^#'(finger "2-3")
@cindex superscript
@cindex subscript
-You can add scripts by editing @file{scm/script.scm}. This file contains
-a table, listing script definitions and aliases. The following syntax
-accesses a script definition from the table:
-
-@example
- \script @var{alias}
-@end example
-
-Usually the @code{\script} keyword is not used directly. Various
-helpful identifier definitions appear in @file{script.ly}.
-
Grobs for these objects are @internalsref{Script} and @internalsref{Fingering}.
@refbugs
@code{c^"text"}.
By default, these indications do not influence the note spacing, but
-if @code{Voice.textNonEmpty} is set to true the widths will be taken
-into account. The identifier @code{\fatText} is defined in the standard
-includes.
-@lilypond[fragment,singleline,verbatim]
-\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
+by using the command @code{\fatText}, the widths will be taken into
+account.
+@c
+@lilypond[fragment,singleline,verbatim] \relative c' {
+c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
Text scripts are created in form of @internalsref{TextScript} grobs, in
-@internalsref{Voice} context.
+@internalsref{Voice} context.
@ref{Text markup} describes how to change the font or access
special symbols in text scripts.
-@c . {Grace notes}
-@node Grace notes
-@subsection Grace notes
+@node Adding scripts
+@subsection Adding scripts
+
+TODO: should junk this subsect?
+
+You can add scripts by editing @file{scm/script.scm} and
+@file{ly/script-init.ly}. This file contains a table, listing script
+definitions and aliases. The following syntax accesses a script
+definition from the table:
+
+@example
+ \script @var{alias}
+@end example
+Usually the @code{\script} keyword is not used directly. Various
+helpful identifier definitions appear in @file{script.ly}.
+@c . {Grace notes}
+@node Grace notes
+@subsection Grace notes
@cindex grace notes
@cindex @code{graceAlignPosition}
+
Grace notes are ornaments that are written out, but do not take up any
logical time in a measure. LilyPond has limited support for grace notes.
The syntax is as follows.
@end table
@menu
-* Repeat syntax::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@node Repeat syntax
}
@end lilypond
-@subsection Repeats and MIDI
+@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
@menu
-* Rhythmic staves::
+* Rhythmic staves::
@end menu
@node Rhythmic staves
other pianistic peculiarities.
@menu
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Arpeggio::
-* Voice follower lines::
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* Voice follower lines::
@end menu
staff. The syntax for this is
@example
\autochange @var{contexttype} \context @var{childcontexttype}
- @var{musicexp} @end example This will switch the
-interpretation context of @var{musicexp} between a @var{contexttype}
-named @code{up} and @code{down}. Typically, you use
-@internalsref{Staff} for @var{contexttype}, and @internalsref{Voice}
-for @var{childcontexttype}. The autochanger switches on basis of pitch
-(central C is the turning point), and it looks ahead skipping over
-rests to switch rests in advance.
+ @var{musicexp}
+@end example
+@c
+This will switch the interpretation context of @var{musicexp} between
+a @var{contexttype} named @code{up} and @code{down}. Typically, you
+use @internalsref{Staff} for @var{contexttype}, and
+@internalsref{Voice} for @var{childcontexttype}. The autochanger
+switches on basis of pitch (central C is the turning point), and it
+looks ahead skipping over rests to switch rests in advance.
@lilypond[verbatim,singleline]
\score { \notes \context PianoStaff <
The associated grob is @internalsref{VoiceFollower}.
+@node Tablatures
+@section Tablatures
+
+@menu
+* Tablatures basic::
+* Non-guitar tablatures::
+* Tablature in addition to normal staff::
+@end menu
+
+@node Tablatures basic
+@subsection Tablatures basic
+@cindex Tablatures basic
+
+Tablature can be typeset with Lilypond by using the
+@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
+tablatures is a recent feature in Lilypond, most of the guitar special
+effects (hammer, pull, bend, ...) are not yet supported.
+
+With the @internalsref{TabStaff}, the string number associated to a note
+is given though the fingering mechanism, e.g. @code{c4-3} for a C
+quarter on the third string. The string 1 is the lowest one, and the
+tuning defaults to the standard guitar tuning (with 6 strings).
+
+@lilypond[fragment,verbatim]
+ \context TabStaff <
+ \notes {
+ \property Staff.Stem \override #'direction = #1
+
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
+ }
+ >
+@end lilypond
+
+
+@node Non-guitar tablatures
+@subsection Non-guitar tablatures
+@cindex Non-guitar tablatures
+
+There are many ways to customize Lilypond tablatures.
+
+First you can change the number of string, e.g.
+@code{StaffSymbol \override #'line-count = #5} to have only 5 strings.
+Because of a kind of bug in Lilypond, you MUST create a new type of
+context if you want different tablatures with diiferent number of
+strings.
+
+Then you can change the strings tuning. String tuning is given as a
+Scheme list with one integer number for each string, the number being
+the string note pitch if not fretted (open note).
+
+Finally, it is possible to change the Scheme function to format the
+tablature note text. The default is @var{fret-number-tablature-format},
+which uses the fret number, but for some instruments that may not use
+this notation, just create your own tablature-format function. This
+function takes three argument: the string number, the string tuning and
+the note pitch.
+
+
+@node Tablature in addition to normal staff
+@subsection Tablature in addition to normal staff
+@cindex Tablature in addition to normal staff
+
+It is possible to typeset both tablature and a "normal" staff, as
+commonly done in many parts.
+
+A common trick for that is to put the notes in a variables, and to hide
+the fingering information (which correspond to the string number) for
+the standard staff.
+
+@lilypond[fragment,verbatim]
+ part = \notes {
+ a,4-2 c'-5 a-4 e'-6
+ e-3 c'-5 a-4 e'-6
+ }
+ \context StaffGroup <
+ \context Staff <
+ % Hide fingering number (used for string number) for the "normal" staff
+ \property Staff.Fingering \override #'transparent = ##t
+
+ \part
+ >
+ \context TabStaff <
+ \property Staff.Stem \override #'direction = #1
+
+ \part
+ >
+ >
+@end lilypond
+
+
+
@node Lyrics
@section Lyrics
@menu
-* Lyrics mode::
-* Printing lyrics::
+* Lyrics mode::
+* Printing lyrics::
* Automatic syllable durations::
-* More stanzas::
+* More stanzas::
@end menu
@c . {Lyrics mode}
interpret this as an inversion.
@menu
-* Chords mode::
-* Printing named chords::
+* Chords mode::
+* Printing named chords::
@end menu
@c . {Chords mode}
@c . {Transpose}
@menu
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Transpose::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
* Sound output for transposing instruments::
-* Multi measure rests::
-* Automatic part combining::
-* Hara kiri staves::
+* Multi measure rests::
+* Automatic part combining::
+* Hara kiri staves::
@end menu
@c . {Rehearsal marks}
@c . {Custodes}
+@node Ancient notation
+@section Ancient notation
+
+@menu
+* Ancient note heads::
+* Custodes::
+@end menu
+
+
+@node Ancient note heads
+@subsection Ancient note heads
+
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
+NoteHead grob to @code{mensural}. There is also a note head style
+@code{baroque} which gives mensural note heads for @code{\longa} and
+@code{\breve} but standard note heads for shorter notes.
+
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'mensural
+ \property Voice.NoteHead \set #'font-family = #'ancient
+ a'\longa
+@end lilypond
+
@node Custodes
-@section Custodes
+@subsection Custodes
+
@cindex Custos
@cindex Custodes
@}
@end example
+@node Ancient clefs
+@section Ancient clefs
+
+LilyPond supports a variety of clefs, many of them ancient. These can
+be selected from the @code{ancient} font family, by setting
+@code{Staff.clefGlyph}) to the following values
+
+@table @code
+@item clefs-C
+ modern style C clef
+@item clefs-F
+ modern style F clef
+@item clefs-G
+ modern style G clef
+@item clefs-vaticana_do
+ Editio Vaticana style do clef
+@item clefs-vaticana_fa
+ Editio Vaticana style fa clef
+@item clefs-medicaea_do
+ Editio Medicaea style do clef
+@item clefs-medicaea_fa
+ Editio Medicaea style fa clef
+@item clefs-mensural1_c
+ modern style mensural C clef
+@item clefs-mensural2_c
+ historic style small mensural C clef
+@item clefs-mensural3_c
+ historic style big mensural C clef
+@item clefs-mensural1_f
+ historic style traditional mensural F clef
+@item clefs-mensural2_f
+ historic style new mensural F clef
+@item clefs-mensural_g
+ historic style mensural G clef
+@item clefs-hufnagel_do
+ historic style hufnagel do clef
+@item clefs-hufnagel_fa
+ historic style hufnagel fa clef
+@item clefs-hufnagel_do_fa
+ historic style hufnagel combined do/fa clef
+@item clefs-percussion
+ modern style percussion clef
+@end table
+
+@emph{Modern style} means ``as is typeset in current editions.''
+@emph{Historic style} means ``as was typeset or written in contemporary
+historic editions''. @emph{Editio XXX style} means ``as is/was printed in
+Editio XXX.''
+
+@cindex Vaticana, Editio
+@cindex Medicaea, Editio
+@cindex hufnagel clefs
+
+
@c . {Figured bass}
@node Figured bass
object, and set a grob property in that object.
@menu
-* Tuning groups of grobs ::
-* Tuning per grob ::
-* What to tune?::
-* Font selection::
-* Text markup::
-* Invisible grobs::
-* Dirty tricks::
+* Tuning groups of grobs ::
+* Tuning per grob ::
+* What to tune?::
+* Font selection::
+* Text markup::
+* Invisible grobs::
+* Dirty tricks::
@end menu
@node Tuning groups of grobs
@code{\revert} properties that are expected to be set by default,
LilyPond may crash.
+
+@cindex adjusting staff symbol
+@cindex StaffSymbol, using \property
+@cindex staff lines, setting number of
+
Some grobs are created at the moment that their context is created. An
example of such a grob is the staff itself (i.e. the horizontal lines).
You can not change the appearance of the staff symbol by manipulating
The part of LilyPond is documented here.
@menu
-* Paper block::
-* Paper variables::
-* Font Size::
-* Paper size::
-* Line break::
-* Page break::
-* Output scaling::
+* Paper block::
+* Paper variables::
+* Font Size::
+* Paper size::
+* Line break::
+* Page break::
+* Output scaling::
@end menu
@c . {Paper block}
LilyPond can output processed music in different output formats.
@menu
-* TeX output::
-* PostScript output::
-* Scheme output::
-* ASCIIScript output::
+* TeX output::
+* PostScript output::
+* Scheme output::
+* ASCIIScript output::
@end menu
@node TeX output
channel 10 of a MIDI file).
@menu
-* MIDI block::
-* MIDI instrument names::
+* MIDI block::
+* MIDI instrument names::
@end menu
@c . {MIDI block}
Context definitions follow precisely the same syntax as within the
\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
+The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
@node MIDI instrument names
@section Music entry
@cindex Music entry
@menu
-* Relative::
-* Bar check::
-* Point and click::
+* Relative::
+* Bar check::
+* Point and click::
@end menu
When entering music with LilyPond, it is easy to introduce errors. This
@section Interpretation context
@menu
-* Creating contexts::
-* Default contexts::
-* Context properties::
-* Engravers and performers::
+* Creating contexts::
+* Default contexts::
+* Context properties::
+* Engravers and performers::
* Changing context definitions::
-* Defining new contexts::
+* Defining new contexts::
@end menu
Contexts associated with sheet music output are called @emph{notation
contexts}, those for sound output are called @emph{performance
contexts}. The default definitions of the standard notation and
-performance contexts can be found in @file{ly/engraver.ly} and
-@file{ly/performer.ly}, respectively.
-
+performance contexts can be found in @file{ly/engraver-init.ly} and
+@file{ly/performer-init.ly}, respectively.
@node Creating contexts
@subsection Creating contexts
To simplify editing translators, all standard contexts have standard
identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
-@code{VoiceContext}, see @file{ly/engraver.ly}.
+@code{VoiceContext}, see @file{ly/engraver-init.ly}.
@node Defining new contexts
@subsection Defining new contexts
This section describes details that were too boring to be put elsewhere.
@menu
-* Top level::
-* Identifiers::
-* Music expressions::
+* Top level::
+* Identifiers::
+* Music expressions::
* Manipulating music expressions::
-* Assignments::
-* Lexical modes::
-* Ambiguities::
+* Assignments::
+* Lexical modes::
+* Ambiguities::
@end menu
@c . {Top level}
@c . {Span requests}
@menu
-* Span requests::
+* Span requests::
@end menu
@node Span requests
Even more boring details, now on lexical side of the input parser.
@menu
-* Comments::
-* Direct Scheme::
-* Keywords::
-* Integers::
-* Reals::
-* Strings::
-* Main input::
-* File inclusion::
-* Version information::
+* Comments::
+* Direct Scheme::
+* Keywords::
+* Integers::
+* Reals::
+* Strings::
+* Main input::
+* File inclusion::
+* Version information::
@end menu
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